Music Theory

Music Theory for the
21st-Century Classroom
Music Theory for the
21st-Century Classroom
Robert Hutchinson
University of Puget Sound
DRAFT August 23, 2019 DRAFT

Website: musictheory.pugetsound.edu
© 2017 Robert Hutchinson
Permission is granted to copy, distribute and/or modify this document under
the terms of the GNU Free Documentation License, Version 1.2 or any later
version published by the Free Software Foundation; with no Invariant Sections,
no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is
included in the appendix entitled “GNU Free Documentation License.”
Acknowledgements
I owe a huge thanks to Robert Beezer for recommending PreTeXt (formerly

“MathBook XML”) as a means to author Music Theory for the 21st–Century
Classroom. His work creating the “world” of PreTeXt made it easier than I
could have imagined to create this text in all its forms (online, PDF, and print).
Also of incredible value, and without whom this text would not exist, is
Jahrme Risner, who helped me wrap my head around the nitty gritty of Pre-
TeXt and patiently coached me through entering commands in the terminal.
I wish to thank my colleague, Gwynne Kuhner Brown, for co–piloting the
use of this text at the University of Puget Sound and for suggesting extremely
helpful clarifications and corrections.
Finally, I must thank my wife, Dawn Padula, Director of Vocal Studies at
the University of Puget Sound and musician extraordinaire, for entertaining
my endless questions about my choices for musical examples and the clarity of
explanations and diagrams.
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Preface
Music Theory for the 21st–Century Classroom is an openly–licensed online

four–semester college music theory textbook. This text differs from other mu-
sic theory textbooks by focusing less on four–part (SATB) voiceleading and
more on relating harmony to the phrase. Also, in traditional music theory
textbooks, there is little emphasis on motivic analysis and analysis of melodic
units smaller than the phrase. In my opinion, this led to students having dif-
ficulty with creating melodies, since the training they are given is typically to
write a “melody” in quarter notes in the soprano voice of part writing exercises.
When the assignments in those texts ask students to do more than this, the
majority of the students struggle to create a melody with continuity and with
appropriate placement of harmonies within a phrase because the text had not
prepared them to do so.
In Music Theory for the 21st–Century Classroom, students learn about mo-
tive, fragment, phrase, and subphrase, as well as types of melodic alteration
like inversion, intervallic change, augmentation, diminution, rhythmic change,
ornamentation, extension, and retrograde. By understanding motive and sub-
phrase (also known as “phrase segment” or “phrase member”), I believe students
will better understand the logic and construction of melodies, which will aid
them in creating their own music.
This text is meant to take the student from the basics of reading and writing
pitches and rhythms through twelve–tone technique and minimalism over the
course of four semesters. Whenever possible, examples from popular music
and music from film and musical theater are included to illustrate melodic and
harmonic concepts, usually within the context of the phrase.
Performances of notated examples are linked to legal, copyrighted YouTube
videos with the start and stop time embedded to prevent the instructor the
need to search for the passage. The online nature of the text allows links
between related concepts (including the index) as well as to relevant pages on
the internet.
While I have considered creating a unique curriculum for the theory pro-
gram at my university since 2001, the impetus to create an online music theory
textbook that could be of use not only to my students but to students at other
colleges came from reading “Transforming Music Study from its Foundations:
A Manifesto for Progressive Change in the Undergraduate Preparation of Mu-
sic Majors” by the College Music Society’s Task Force on the Undergraduate
Music Major.
The ideas in “the Manifesto,” as it is often called—that colleges need to train
students to be composer–performer–improvisers (and I would add “arrangers”)
like Bach and Beethoven as well as Charlie Parker and Jimmy Page—resonated
with my musical experience growing up, which included writing, arranging, and
playing popular music on electric guitar, electric bass, keyboards, and drumset
in high school—both in my uncle’s home recording studio and with a garage
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viii
band I formed. It also resonated with my experiences playing jazz and fusion as
a professional bassist ever since I was in college, a situation where the majority
of the basslines I play are improvised from lead-sheet symbols.
My Ph.D. is in composition with a supporting area in music theory. I teach
students to write motets and fugues in the upper–division counterpoint class.
I believe in compositional craft. I also acknowledge that there are many things
one can value in music, including lyrics, groove, production, texture, emotion,
harmony, virtuosity, and intellect, to name a few. In this textbook I try to
cover as many as possible of these items that relate to how music is made and
how understanding can enrich one’s experience.
Robert Hutchinson
Tacoma, Washington 2017
Contents
Acknowledgements v
Preface vii
1 Basic Concepts 1
1.1 Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.2 Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.3 Octave Registers . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.4 Accidentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.5 Enharmonic Notes . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.6 Practice Exercises . . . . . . . . . . . . . . . . . . . . . . . . . 4
2 Major Scales and Key Signatures 5

2.1 Half Steps and Whole Steps . . . . . . . . . . . . . . . . . . . . 5
2.2 The Major Scale . . . . . . . . . . . . . . . . . . . . . . . . . . 5
2.3 Major Key Signatures . . . . . . . . . . . . . . . . . . . . . . . 6
3 Minor Scales and Key Signatures 11

3.1 Minor Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
3.2 Minor Key Signatures . . . . . . . . . . . . . . . . . . . . . . . 12
3.3 Scale Degree Names . . . . . . . . . . . . . . . . . . . . . . . . 15
4 Basics of Rhythm 19
4.1 Time Signature . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
4.2 Durational Symbols . . . . . . . . . . . . . . . . . . . . . . . . 19
4.3 Dots and Ties . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
4.4 Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4.5 Tuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4.6 Common Rhythmic Notation Errors . . . . . . . . . . . . . . . 23
5 Intervals 29
5.1 Introduction to Intervals . . . . . . . . . . . . . . . . . . . . . . 29
5.2 How to Identify Perfect, Major, and Minor Intervals . . . . . . 30
5.3 How to Write Perfect, Major, and Minor Intervals . . . . . . . 32
5.4 Inversion of Intervals Explained . . . . . . . . . . . . . . . . . . 32
5.5 Augmented and Diminished Intervals . . . . . . . . . . . . . . . 33
ix
x CONTENTS
6 Triads 35
6.1 Introduction to Triads . . . . . . . . . . . . . . . . . . . . . . . 35
6.2 Lead–Sheet Symbols . . . . . . . . . . . . . . . . . . . . . . . . 35
6.3 Inverted Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
6.4 Analyzing Chords . . . . . . . . . . . . . . . . . . . . . . . . . . 37
6.5 Simple “Sus” Chords . . . . . . . . . . . . . . . . . . . . . . . . 39
7 Roman Numerals and Cadences 43

7.1 Roman Numeral Chord Symbols . . . . . . . . . . . . . . . . . 43
7.2 Diatonic Chords in Major . . . . . . . . . . . . . . . . . . . . . 44
7.3 Diatonic Chords in Minor . . . . . . . . . . . . . . . . . . . . . 44
7.4 Cadences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
8 Seventh Chords 55
8.1 Introduction to Seventh Chords . . . . . . . . . . . . . . . . . . 55
8.2 The IV/5 “sus” chord . . . . . . . . . . . . . . . . . . . . . . . . 56
8.3 Roman Numerals of Diatonic Seventh Chords . . . . . . . . . . 57
9 Harmonic Progression and Harmonic Function 59

9.1 The Circle of Fifths Progression . . . . . . . . . . . . . . . . . . 59
9.2 Harmonic Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . 64
9.3 Shorter Progressions from the Circle of Fifths . . . . . . . . . . 65
9.4 Harmonic Function . . . . . . . . . . . . . . . . . . . . . . . . . 72
9.5 Exceptions Created by Harmonic Sequences . . . . . . . . . . . 83
9.6 The Subtonic VII Chord in Popular Music . . . . . . . . . . . . 85
9.7 The Best–Seller Progression . . . . . . . . . . . . . . . . . . . . 87
9.8 The i–VII–VI–VII Progression . . . . . . . . . . . . . . . . . . . 90
10 Non–Chord Tones 97
10.1 Introduction to Non–Chord Tones . . . . . . . . . . . . . . . . 97
10.2 Passing Tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
10.3 Neighbor Tones . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
10.4 Appoggiatura . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
10.5 Escape Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
10.6 Double Neighbor . . . . . . . . . . . . . . . . . . . . . . . . . . 102
10.7 Anticipation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
10.8 Pedal Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
10.9 Suspension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
10.10Retardation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
10.11Incomplete Neighbor . . . . . . . . . . . . . . . . . . . . . . . . 110
10.12Adding Non–Chord Tones to a Chord Progression . . . . . . . 111
10.13Practice Exercises . . . . . . . . . . . . . . . . . . . . . . . . . 113
11 Melodic Analysis 117

11.1 Motive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
11.2 Melodic Alteration . . . . . . . . . . . . . . . . . . . . . . . . . 121
11.3 Fragment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
11.4 Phrase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
11.5 Subphrase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
CONTENTS xi
12 Form in Popular Music 139

12.1 Verse–Chorus Form . . . . . . . . . . . . . . . . . . . . . . . . . 139
12.2 AABA Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
12.3 ABAC Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
12.4 The 12–Bar Blues . . . . . . . . . . . . . . . . . . . . . . . . . 142
12.5 Harmonically Closed and Open Sections . . . . . . . . . . . . . 142
13 Phrases in Combination 147

13.1 The Perfect Authentic Cadence . . . . . . . . . . . . . . . . . . 147
13.2 The Sentence . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
13.3 The Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
13.4 The Asymmetrical Period . . . . . . . . . . . . . . . . . . . . . 159
13.5 The Double Period . . . . . . . . . . . . . . . . . . . . . . . . . 161
13.6 Phrase Groups and Phrase Chains . . . . . . . . . . . . . . . . 165
13.7 The Elision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
13.8 Summary of Phrases in Combination . . . . . . . . . . . . . . . 169
14 Accompanimental Textures 173

14.1 Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
14.2 Chorale Texture . . . . . . . . . . . . . . . . . . . . . . . . . . 175
14.3 Arpeggiated Accompaniments . . . . . . . . . . . . . . . . . . . 177
14.4 Block Chord Accompaniments . . . . . . . . . . . . . . . . . . . 182
14.5 Afterbeats and Offbeats . . . . . . . . . . . . . . . . . . . . . . 194
14.6 The 3–2 Clavé . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
14.7 Distinctive Bass Lines . . . . . . . . . . . . . . . . . . . . . . . 210
15 Creating Contrast Between Sections 213

15.1 The Elements of Music . . . . . . . . . . . . . . . . . . . . . . . 213
15.2 Mozart, Eine kleine Nachtmusik, K. 525, II. . . . . . . . . . . . 214
15.3 “Rude” by MAGIC! . . . . . . . . . . . . . . . . . . . . . . . . . 217
16 Figured Bass 221

16.1 Historical Context . . . . . . . . . . . . . . . . . . . . . . . . . 221
16.2 Figured Bass Inversion Symbols . . . . . . . . . . . . . . . . . . 223
16.3 The Cadential Six–Four Chord . . . . . . . . . . . . . . . . . . 224
16.4 Other Occurrences of Six–Four Chords . . . . . . . . . . . . . . 226
16.5 Additional Information . . . . . . . . . . . . . . . . . . . . . . . 227
17 Secondary Dominant Chords 231

17.1 Examples with Secondary Dominants . . . . . . . . . . . . . . . 231
17.2 Tonicization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
17.3 Secondary Dominants in Major and Minor . . . . . . . . . . . . 236
17.4 Analyzing Secondary Dominants . . . . . . . . . . . . . . . . . 237
17.5 Writing Secondary Dominants . . . . . . . . . . . . . . . . . . . 237
17.6 Irregular Resolutions of Secondary Chords . . . . . . . . . . . . 238
xii CONTENTS
18 Secondary Diminished Chords 245

18.1 Secondary Diminished Chords . . . . . . . . . . . . . . . . . . . 245
18.2 Secondary Diminished Chords in Major and Minor . . . . . . . 247
18.3 Analyzing Secondary Diminished Chords . . . . . . . . . . . . . 248
18.4 Writing Secondary Diminished Chords . . . . . . . . . . . . . . 249
19 Mode Mixture 253

19.1 Mode Mixture . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
19.2 Harmonization of Borrowed Scale Degrees . . . . . . . . . . . . 261
19.3 Analyzing and Writing Borrowed Chords . . . . . . . . . . . . . 262
19.4 The Deceptive Cadence with 2 VI . . . . . . . . . . . . . . . . . 263
19.5 The Picardy 3rd . . . . . . . . . . . . . . . . . . . . . . . . . . 265
20 The Neapolitan Chord 269

20.1 The Neapolitan Chord . . . . . . . . . . . . . . . . . . . . . . . 269
20.2 Examples of the Neapolitan Chord . . . . . . . . . . . . . . . . 271
21 Augmented Sixth Chords 275

21.1 Augmented Sixth Chords . . . . . . . . . . . . . . . . . . . . . 275
21.2 Types of Augmented Sixth Chords . . . . . . . . . . . . . . . . 275
21.3 Analyzing Augmented Sixth Chords . . . . . . . . . . . . . . . 276
21.4 Lead–Sheet Analysis of Augmented Sixth Chords . . . . . . . . 277
21.5 Examples with Augmented Sixth Chords . . . . . . . . . . . . . 277
21.6 Descending Chromatic Bass Lines . . . . . . . . . . . . . . . . . 284
21.7 Chromatic Pre–Dominant Chords . . . . . . . . . . . . . . . . . 290
22 Modulation 293
22.1 Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
22.2 Tonicization versus Modulation . . . . . . . . . . . . . . . . . . 295
22.3 Key Relationships . . . . . . . . . . . . . . . . . . . . . . . . . 299
22.4 Modulations with Diatonic Pivot Chords . . . . . . . . . . . . . 300
22.5 How to Recognize a Key After a Modulation . . . . . . . . . . 304
22.6 Modulations with Chromatic Pivot Chords . . . . . . . . . . . 305
22.7 Modulations Without Pivot Chords . . . . . . . . . . . . . . . . 308
23 Enharmonic Modulation 325

23.1 Enharmonic Modulation . . . . . . . . . . . . . . . . . . . . . . 325
23.2 The V7 and Ger+6 as Pivot Chords . . . . . . . . . . . . . . . 326
23.3 The Fully Diminished Seventh as Pivot Chord . . . . . . . . . . 331
24 Binary and Ternary Forms 337

24.1 Binary and Ternary Form . . . . . . . . . . . . . . . . . . . . . 337
24.2 Sectional versus Continuous . . . . . . . . . . . . . . . . . . . . 337
24.3 Balanced Binary . . . . . . . . . . . . . . . . . . . . . . . . . . 340
24.4 Rounded Binary . . . . . . . . . . . . . . . . . . . . . . . . . . 342
24.5 Simple Binary . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
24.6 Binary Principle . . . . . . . . . . . . . . . . . . . . . . . . . . 348
24.7 Ternary Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
24.8 Distinguishing between Rounded Binary and Ternary . . . . . . 352
CONTENTS xiii
25 Sonata and Rondo Forms 365

25.1 Sonata Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
25.2 The Four Structural Functions in Music . . . . . . . . . . . . . 367
25.3 Rondo Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
25.4 Rondo Character . . . . . . . . . . . . . . . . . . . . . . . . . . 377
25.5 Standard Forms in a Multimovement Classical Piece . . . . . . 380
26 Voice Leading Triads 387

26.1 Voice Leading . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
26.2 Types of Motion . . . . . . . . . . . . . . . . . . . . . . . . . . 388
26.3 Objectionable Parallels . . . . . . . . . . . . . . . . . . . . . . . 388
26.4 Voice Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
26.5 Rules of Melody . . . . . . . . . . . . . . . . . . . . . . . . . . 389
26.6 Rules of Spacing . . . . . . . . . . . . . . . . . . . . . . . . . . 389
26.7 Voice–leading Root Position Triads in Four Parts . . . . . . . . 390
26.8 Voice Leading First–Inversion Triads . . . . . . . . . . . . . . . 393
26.9 Voice Leading Second Inversion Triads . . . . . . . . . . . . . . 395
26.10Special Situations . . . . . . . . . . . . . . . . . . . . . . . . . . 396
26.11Types of Six–Four Chords . . . . . . . . . . . . . . . . . . . . . 397
26.12Summary of Doubling Rules for Triads . . . . . . . . . . . . . . 398
27 Voice Leading Seventh Chords 403

27.1 Voice Leading Seventh Chords . . . . . . . . . . . . . . . . . . 403
27.2 Voice Leading Successive Seventh Chords . . . . . . . . . . . . 406
27.3 Voice Leading the V7 to I Progression . . . . . . . . . . . . . . 408
27.4 The Special Resolution of vii ◦7 (and vii ø7 ) . . . . . . . . . . . 410
27.5 When to Use Seventh Chords . . . . . . . . . . . . . . . . . . . 410
28 Voice Leading With Non–Chord Tones 413

28.1 Voice Leading With Non–Chord Tones . . . . . . . . . . . . . . 413
28.2 Avoiding Objectionable Parallels . . . . . . . . . . . . . . . . . 414
28.3 Adding Non–Chord Tones to a Chord Progression . . . . . . . 415
29 Voice Leading Chromatic Harmonies 423

29.1 Voice Leading Secondary Chords . . . . . . . . . . . . . . . . . 423
29.2 Voice Leading Borrowed Chords . . . . . . . . . . . . . . . . . . 424
29.3 Voice Leading the Neapolitan Chord . . . . . . . . . . . . . . . 425
29.4 Voice Leading Augmented Sixth Chords . . . . . . . . . . . . . 425
30 Introduction to Counterpoint 429

30.1 Species Counterpoint . . . . . . . . . . . . . . . . . . . . . . . . 429
30.2 First Species Counterpoint . . . . . . . . . . . . . . . . . . . . . 430
30.3 Second Species Counterpoint . . . . . . . . . . . . . . . . . . . 432
30.4 Third Species Counterpoint . . . . . . . . . . . . . . . . . . . . 433
30.5 Fourth Species Counterpoint . . . . . . . . . . . . . . . . . . . 434
30.6 Fifth Species Counterpoint . . . . . . . . . . . . . . . . . . . . 435
30.7 Invention Expositions . . . . . . . . . . . . . . . . . . . . . . . 435
30.8 Fugue Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
xiv CONTENTS
31 Introduction to Jazz Theory 455

31.1 Jazz Chord Basics . . . . . . . . . . . . . . . . . . . . . . . . . 455
31.2 Chord Symbol Specifics . . . . . . . . . . . . . . . . . . . . . . 457
31.3 Altered Dominant Seventh Chords . . . . . . . . . . . . . . . . 457
31.4 Chord Labels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
31.5 How to Write Jazz Chords . . . . . . . . . . . . . . . . . . . . . 460
31.6 How to Analyze Jazz Chords . . . . . . . . . . . . . . . . . . . 461
31.7 Jazz Chord Voicings . . . . . . . . . . . . . . . . . . . . . . . . 462
31.8 Standard Chord Progressions . . . . . . . . . . . . . . . . . . . 464
31.9 Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
31.10How to Determine Chord–Scale Relationships . . . . . . . . . . 469
31.11Harmonizing the Bebop Scale . . . . . . . . . . . . . . . . . . . 471
32 Impressionism and Extended Tonality 477

32.1 Impressionism . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
32.2 Pandiatonicism . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
32.3 Quartal, Quintal, and Secundal Harmony . . . . . . . . . . . . 483
32.4 Polychords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
33 Set Theory 489

33.1 Set Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
33.2 Normal Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492
33.3 Prime Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
33.4 Interval Vector . . . . . . . . . . . . . . . . . . . . . . . . . . . 496
33.5 Forte Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
33.6 Lists of Set Classes . . . . . . . . . . . . . . . . . . . . . . . . . 498
33.7 Transposition (Tn ) . . . . . . . . . . . . . . . . . . . . . . . . . 502
33.8 Inversion (Tn I) . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
34 Serialism 507
34.1 Twelve–Tone Technique . . . . . . . . . . . . . . . . . . . . . . 507
34.2 Determining Row Forms . . . . . . . . . . . . . . . . . . . . . . 509
34.3 Writing Row Forms . . . . . . . . . . . . . . . . . . . . . . . . . 510
34.4 Twelve–Tone Matrix . . . . . . . . . . . . . . . . . . . . . . . . 511
34.5 Row Form Presentation in Music . . . . . . . . . . . . . . . . . 512
34.6 Non–Twelve–Tone Serialism . . . . . . . . . . . . . . . . . . . . 514
35 Minimalism 519
35.1 Additive Minimalism . . . . . . . . . . . . . . . . . . . . . . . . 519
35.2 Phase Shifting . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
35.3 Homework Assignments . . . . . . . . . . . . . . . . . . . . . . 523
A Answers to Practice Exercises 525
B GNU Free Documentation License 565
Index 573
Chapter 1
Basic Concepts
1.1 Pitch
& 51
Pitch has to do with notes. On the piano there are 88 notes. As you move to
the right on a piano, the notes sound higher. Notes sound lower as you move
to the left. Try it on a piano with a smaller range at the following website.
lower higher
1.2
1 Notation
2 3 4 5 6 7 8 9 10
Notes are written on a five-line staff . A clef orients the lines to a reference
point. For example, the G clef, when placed on a five-line staff, becomes the
2 treble clef , the most well known clef. In treble clef, the notes on the lines are
& E–G–B–D–F from lowest to highest, often remembered through the traditional
mnenomic “Every Good Boy Does Fine.” The spaces are F–A–C–E from lowest
to highest. Staves (the plural of “staff” in musical terminology is “staves”) are
œ
extended by the ledger lines.
œ ?
HW
&
F Fine E
œ ledger lines
D Does C
?
B Boy
&
G Good A
E F Every Fine F
E
œsurrounding
D Does C
B Boy A
G Good F
E Every
1 The2 F clef,
3 when 4placed on
5 a five-line
6 staff with7 the dots
8 the
9 lines
ledger 10
? w wD F
second line from the top, creates the bass clef . See the example for the names
wE G
2
w Do w ? w w
of lines and spaces,
A and for mnemonics toAlways
remember them.
B w
3
&
? G D F wA B w A C E G Cowsw Eat Grass
2 Grass
&
Fine
w
Eat
B Boys C Cows
All
&
Good Always
Fine
Do
B Boys A All
G Good
1 2 3 4 5 6 7 8 9 10 11 12
3
1.3 Octave Registers ?
3
& wœ
& After names used inwmusic are ABCDEFG (knownw as thew“musical alpha- ?
? w B again and again.
w w w
7
& œ w w B
The note
w w
HW bet”). G, the note A returns and ABCDEFG occurs
œ
? 1 2 3 4 5 6 1 7 8 9 10 11 12
4
œ
?Example
4
bw
1
& w bœ ‹œ w
2 3 4
w
11
#w
E Every œ ledger lines
&
F
?
2 2 CHAPTER 1. BASIC CONCEPTS
A Always B D
F
D distance from theDo
Fine
C E
G Eat
Grass
G Good
G
B The
Good
Boys first A to the second
A A is an
All octave E
Cows (which means the Every
notes are eight steps apart.)
A B C D E F G A
8 (octave)
?
3 1 2 3 4 5 6 7
The distance from any note to a note of the same name in the next register
?
2
&
above or below is called an octave (abbreviated “8ve”).
F Fine
How can the piano keyboard have D A Does
?
88 notes when there are only seven note
5 names? The musical alphabet B
repeats 7 times (with anGood D
extra ABC Boy
F
at the
G
E at least seven octaveEvery BoysF D
G B
top), which means we have registers. (There are also five
? when we discuss Good

4
chromatic notes in each register, which we will learn about
Accidentals.) When learning about octave registers, we will focus on the note
C for reasons that will soon become clear when we learn about the major scale.
half step whole step
We use octave registers (C4 , D5 , etc.) to specify the exact register of
?
2 a note. The note C4 is known as “middle C” and is an important reference
point. See the keyboard in the example below.
A Always
3 F Fine
D Boys Do A C
G C3B C4
& œ
B0 C1 C2 B4C5
Good
C6 C7 C8
Note that the register number changes after the noteB each time (B4 is
half step whole stepfollowed by C5 ).
In treble clef, middle C is notated on the ledger line below the staff. In
bass clef, middle C is notated on the ledger line above the staff.
3 4
? œ
& œ
7
B œ
œ
Figure 1.3.1: Middle C (C4) in treble clef and bass clef
?
4
The other two commonly used clefs are alto clef and tenor clef . Each
use a C clef that, when placed on a staff, designate the placement of middle C.
7
B œ
8
B œ
B0 C1 C2
Figure 1.3.2: Middle C in alto clef and tenor clef
B œ
8
B0 C1
The grand staff , which is a treble and bass clef joined together by a
C2 C3 C4 B4
bracket, is how piano music is written.
instead of G˜
1.4. ACCIDENTALS 3
5œ 6œ 7
œ œ 9 œ10 ˙
& 4 œ œ b wœ œ œ bœ nœ bw
4 œ3 4œ
Middle counting
C
œ2
186 half steps
œ œ b œ n œ b œ n œ
& w b œ n œ
1 8
w œ ˙ œ
? 44
œ œ œ œ œ œ œ 10œhalf steps = m7
œ œ œ œ
### w Nw
Middle C
188
&∑ w w w∑
Note that middle? C is always clearly notated in either the upper or lower
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
5
staff and never floats between the two staves.
& m6 up = ? M6 up is F˜, according m6 above A = F
to A Major key signature
1.4 Accidentals
? ∑ ∑ w ∑ ∑ ∑ w ∑ ∑ ∑ ∑ ∑
& w w
There are five types of accidentals; accidentals are characters that can be
placed before notes to raise or lower them.
ww w w
m6 A is below F M3 A is above F
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
15
&
• The sharp symbol—4—raises a pitch a half step.
b ww2—lowers awpitch a half w # ww w

b ww w w w w w w w w w
195
& ? bw
• The flat symbol— step.
∑ w sharp
∑ • The double b w ∑ 5—raises∑wa pitch ∑twowhalf steps,
∑ symbol— ∑ #orw a ∑whole
m2 M7 step.
M2 m7 m3 M6 M3 m6 P4 P5 °4 +5
• The double flat symbol—3—lowers a pitch two half steps, or a whole

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
23
&
step. How Intervals Invert
1 8 M m
• The natural symbol—6—cancels out any other accidentals that may have
occurred earlier in2a measure
7
?
Por in PMajor Key Signatures or Minor Key
∑ Signatures.
∑ ∑ 3 6 ∑ + °∑ ∑ ∑ ∑
4 5
201
&w bw nw #w nw
Figure 1.4.1
1.5 Enharmonic Notes

4 2
Observe that C and D are the same note on the piano but are written as
different notes on the staff.
4 CHAPTER 1. BASIC CONCEPTS
&
#œ bœ
5
&1
1 2 3 4 5
Figure 61.5.1
7 8 9 10
4 2 4 2 4 2
This occurs with all the black keys on the piano (C =D , D =E , F =G ,
2 4
&
2 4 2
G =A , A =B ). When two notes sound the same but are written as two
different notes on the staff, the written notes are said to be enharmonic.
Notes on the white keys of the piano can be written enharmonically as well
4 2 5
(C=B , E=F , D=C , etc.).
HW
51 Practice Exercises
& 1.6
&1.51 For each note on the piano keyboard, specify the note name and octave
1 2 3 4 5 6 7 8 9 10
register.
w w w
w w ?w Bw w
3
& w Bw w w
1 2 3 4 5 6 7 8 9 10
1 1 2 2 33 4 4 5 5 6 6 77 8 8 9 10 9 11 1210
For each note on the staff, specify the note name and octave register.
w
2.
w w w
w w ?w w Bw w w
2
&w w Bw ww B
w? w w
2 7
& & w B
HW
w2 w w
1 3 4 5 6 7 8 9 10 11 12
6 3. Provide
1 two
2 enharmically equivalent
6 notes
7 for8 each9 given10
note.11
&
3 4 5 12
bw
Example 1
& w bœ ‹œ w
2 3 4
w
11
#w
? ‹w #œ bœ bw ‹w
Example 1 2 3 4
w
16
HW ∫ w
Chapter 2
Major Scales and Key Signa-

tures
2.1 Half Steps and Whole Steps
?
5
A half step on a piano keyboard is the distance from one note to the next
nearest note. A whole step is made of two half steps.
half step whole step
2.2 The Major Scale
A major scale contains a specific succession of whole and half steps. It is helpful
to think of the pattern as consisting of two tetrachords. (A tetrachord is a
four–note scale segment.) The lower tetrachord consists of the pattern whole
step, whole step, half step. A whole step joins the lower tetrachord to the
upper tetrachord. The upper tetrachord duplicates the pattern in the lower
one: whole step, whole step, half step. If we use W for whole step and H for half
step, the major scale pattern is W–W–H, Whole–step connection, W–W–H.
5
B
9
6 CHAPTER 2. MAJOR SCALES AND KEY SIGNATURES
tetrachord tetrachord
& #œ bœ
W W HW W W H
Figure 2.2.1: The D major scale on a keyboard

12
B
10
tetrachord
tetrachord
œ
W W H
&œ œ œ œ #œ
œ #œ
3
11
W W H W
&
# œ Db œ major scale in treble clef
Figure 2.2.2: The
All major scales use the notes of the musical alphabet in order; no notes are
skipped and no notes occur twice. In the example above, the first four notes
4 2 2
are D–E–F –G, not D–E–G –G. In D–E–G –G, G erroneously occurs twice
4
and the F between E and G is skipped.
12
2.3 Major Key Signatures tetrachord

tetrachord
œ of a
W W H
section) and is written with the & # œ œ ofœ eachœ line# œ of music.
A key signature is placed at the beginning of a piece (or the beginning
œ beginning
clef œon the
The key signature reminds the performer which sharps or flats are in the
W H or W
13 scale (or key) of the piece and preventsW the composer arranger from writing
every sharp or flat from the scale every time it occurs.
#
& # 42 œ œ œ œ œ œ ˙ œœ œœ œœ ˙ œœ œœ œœ ˙
25
#
& # œœ œœ œœ ˙ œœ œœ
œœ ˙ œœ œœ œœ ˙
Figure 2.3.1: "Twinkle, Twinkle, Little Star" in D major

#
& #
37
#
& #
50
## 2 œ œ
4 œ œ œ œ œ œ ˙ œ œ Wœ œ Wœ œ H ˙ Wœ œ œœ œœ ˙
2.3. MAJOR KEY SIGNATURES 7
##
# # 2œ œ œ œ œ sharps
œœ œin˙and œ œ Theœ other
œ key ˙ signatures
œ œ can œ œhaveœbetween
There are 15 major key signatures. The key of C major has no sharps or
˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙˙
1œto œ œ
4 œœ œœ
flats the key signature. 1 to 7
7 flats, giving us the other 14 key signatures.
## # # # # # # #œ# #œ# # # # # # # # # # # # # # # #
œ œ œ œ œ œ &˙ œœ ˙ #œ œ œ #œ œ œ #
œœ # ˙#
G D A E B F C
# ## ### #### #### #### # #### #

Figure 2.3.2: Major Key Signatures using Sharps
& # # ##
G D A E B F# C#
&b bb bbb bbbb bbbbb bbbbbb bbbbbbb

F Bb Eb Ab Db Gb Cb
Figure 2.3.3: Major Key Signatures using Flats
It is important to memorize the order of sharps and flats, since you will be
writing key signatures regularly.
The order of sharps is F–C–G–D–A–E–B, often remembered by a mnemonic.

One common mnemonic for the order of sharps is “Fast Cars Go Dangerously
Around Every Bend.”
The order of flats is B–E–A–D–G–C–F. It is the reverse of the order of

sharps. It is easy to remember since the first four letters make the word BEAD,
and GCF is something most students learn as “Greatest Common Factor” when
studying math in elementary school.
A mnemonic that works forward and backward is “Father Charles Goes

Down And Ends Battle,” which reversed is “Battle Ends And Down Goes
Charles’ Father.”
A helpful learning device to remember the order of keys in relation to

the order of sharps and flats is the circle of fifths. As you ascend in fifths
(clockwise), key signatures get one degree “sharper.” (C to G is a fifth because
C=1, D=2, E=3, F=4, and G=5.) As you descend in fifths (counterclockwise),
key signatures get one degree “flatter.”
B bbbbbbb
52
0b
1b C
F 0# G
2b 1#
Bb # D
2
3b E
b 3# A
b 4#
7# 5#
4b 6#
A E
C#
F# Cb
B
Db
5b Gb 7b
6b
Figure 2.3.4: Circle of Fifths for Major Keys
Note the overlapping keys at the bottom of the circle. B major is enhar-
2 4 2
monically the same as C major, F major is enharmonically the same as G
B bbbbbb
4 2
major, and C major is enharmonically the same as D major.
53
b 2.3.1 Identifying Key Signatures
While it is preferable to memorize key signatures, use the following method

to determine major key signatures based on the sharps or flats in the key
signature.
1. For key signatures withs sharps: Go up a half–step from the last sharp
to find the key.
2. For key signatures with flats: The second–to–last flat is the key.
D¯≤ major scale A major scale
?
21
&
2.4. PRACTICE EXERCISES 9
B¯≤ major scale

2.4 EPractice
major scale
?
Exercises
HW &
23
1. Using the WWHWWWH pattern, write the specified major scales without
using key signatures.
C˜ major scale A¯≤ major scale
?
225
D¯≤ major scale
&
A major scale
?
21
&
2. DOublethe
Given bars?
keynew clefs?
signature, specify the major key.
? bb # ## # ## #### #
bbb ? b
27
E major scale
bb ##
& ____
23
HW
____ ____ ____ ____ ____ ____
1 2 3 4 5 6 7
C˜ major scale
#### # # # # # ?# # # #
A¯≤ major scale
bb bbbb bbbbbbb bbbbbb
25 34
& b # #
____ ____ ____ ____ ____ ____ ____
8 9 10 11 12 13 14
? b order # # # #
41
b b b
Write the major key signature for each key given. Be sure to use the
3
bb ## b b
3.
bbb # b bb bbb
27
& 55
correct for sharps and flats.
?
HW
____ ____ ____ ____ ____ ____ ____
1 2 3 4 5 6 7
### bbbbbbb #### ## #### bb #### #

1. A major 2. B¯≤ major 3. F˜ major 4. D¯≤ major 5. D major
b
48
& # # b #
53
& &
60
____ ____ ____ ____ ____ ____ ____

6. C¯≤ major
8 9 7. E¯≤ major 10 8. B major
11 9. F major 13 10. C˜ major
12 14
#### # ? here to download the homework.

65
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69
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69
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52
4
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52
F 0# G
2b b
Chapter 3 0b 1#
B 1b
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F 0# G
bb 1#
3b E B b
Minor 2 Scales and 3 # A Key Signa-
# D 2
turesb #
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3 b E4 b A 7# 3# A
6#
5 E
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b
B
b b 4C#
#
4b 7# Gb 5 7b
D
5 b Scales 6#
A E
3.1 Minor #
6# b b
C B
D bminor scales:
F the C
G b scale. Play
There are three natural minor scale, the harmonic minor
scale, and the bmelodic minor 7 b or sing through each one and notice
6b
5
the differences.
Major scale
w
53
& w w w w
1̂ 2̂ 3̂ 4̂ 5̂ 6̂ 7̂ 8̂
Major scale w w w
w
53
& w w 5̂ wb 6ˆ w bˆ
1̂ 2̂ 3̂ 4̂ 5̂ 6̂ 7̂ 8̂
w
Natural Minor scale
wb 3ˆ w 4̂
& w bw bw w
1̂ 2̂ 7 8̂
w
NaturalwMinor scale bw w
b 3ˆ b 6ˆ b 7ˆ
4
& w w bw bw w
1̂ 2̂ 4̂ 5̂ 8̂
w b wb 3ˆ
Harmonic Minor scale w b 6ˆ
& w Minorwscale b w w bw w w
1̂ 2̂ 4̂ 5̂ 7̂ 8̂
w
b b 6ˆ
Harmonic
w w
ˆ
& w Minorwscale (ascending w bw
1̂ 2̂ 3 4̂ 5̂ 7̂ 8̂
Melodic bw w
version)
b 3ˆ
& w w w w w
1̂ 2̂ 4̂ 5̂ 6̂ 7̂ 8̂
w bw
b 3ˆ
w
Melodic Minor scale (ascending version)
&Thew melodicw minorb wscale haswan ascending w

w shown
w version, w
1̂ 2̂ 4̂ 5̂ 6̂ 7̂ 8̂
above, and a
57 descending version that is the same as the natural minor scale.
& Melodic Minor scale

2̂ b 3ˆ b 7ˆ b 6ˆ b 3ˆ
& w w bw w w w w w bw bw w w bw w w
1̂ 4̂ 5̂ 6̂ 7̂ 8̂ 5̂ 4̂ 2̂ 1̂
ascending descending
So far, we have looked at minor scales in relation to the major scale. How-
ever, we will typically encounter minor scales in music using minor key signa-
11
œ œ
60
bb C Ó Œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ Œ œ œ
&
12 p
CHAPTER b 7ˆ b 6ˆSIGNATURES
3. MINOR SCALES AND KEY
b œ œ œ œ œ œ œ œ Œ œ œ #œ œ œ œ œ œ œ œ
harmonic minor
65
& b
tures.
7̂ b 6ˆ
harmonic minor melodic minor
3.2 Minor Key Signatures
b œ
& b b 44 ‰ œ n œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ n œ n œ œ œ œ œ œ œ œ
69
Minor key signatures agree with the notes of the natural minor scale. Since
the C natural minor b 6ˆ had E2 , A2 , and
7̂ scale
2 bˆ
7̂ B , the
6 key signature
7̂ 6̂ of C minor
2 2 2
has three flats, written in the order of flats—B , E , A .
Natural Minor scale written with major key signature
b 3ˆ b 6ˆ b 7ˆ
72
& w bw bw w
1̂ 2̂ 4̂ 5̂ 8̂
73 w w bw w
b
&bb
Natural Minor scale written with minor key signature
b 3ˆ b 6ˆ b 7ˆ
bbb
74
& w w w w
1̂ 2̂ 4̂ 5̂ 8̂
w w w w
Therefore, a minor key signature will have three lowered notes—the 3rd, 7
b major
b
& b b 44
6th, and 7th—in relation to the corresponding major key signature. We use
b
75
94 term parallel Eminor
& b b w œ bœ
the when referring to a minor scale that has the same
C minor
w
1st scale degree (in this case C) as the major. We say, “The parallel minor of
E major is E minor,” and ( ) (“The
) parallel major of F minor is F major.” One
method of half
figuring out a minor
steps between: 1 2 key
3 signature is to add three flats to the parallel
major key signature. This is the same as subtracting three sharps.
b #### # ### #
&b bbbbb # bb
95
Bb bb F# f#
subtract 1 sharp
add 3 flats subtract 3 sharps and add 2 flats
G g
Note on uppercase versus lowercase: When writing below the five-line staff
b
&b
101
to designate keys, we will use the shorthand of upper case for major ( C ) and
lowercase for minor ( c ). When writing prose, we will use uppercase: C major
and C minor.
We use the term relative minor when referring to a minor key that has the
2
same key signature as a major key. For example, the relative minor of E major
is C minor because both have three flats in the key signature. Conversely, one
2
could say the relative major of C minor is E major. The relative major is
three half steps above the relative minor.
7
E b major
b
& b b w œ (b œ ) w
94 C minor
( )
half steps between: 1 2 3
Below are the minor key signatures.

b
&bb
95
# ## ### #### #### #### # #### #
6 13
##
3.2. MINOR KEY SIGNATURES
& # ## ### #### #### # # # ## # #### # #

##
75
& # #
a a e e bb f#f
# c# c # g# gd## #
ad
# a#
bbb bbb b bb bbbbbb b bbbbbbbb b b b bbb bbb
bbbb
b bb b b bbbbbbb
83
& & b b
b bb b b b b ebb
b b for comparison.
eb ab
a d g c f a
a c
Heredare circlegof fifths diagrams f major and minor,
for both
b
& b b b b bHarmonic
91
b
Minor scale: raise 7̂ in minor
b 3ˆ b 6ˆ
& bbb w w nw w
1̂ 2̂ 4̂ 5̂ 7̂ 8̂
w w w w
b
& b bbbbb
99
Melodic Minor scale (ascending version): raise 6̂ and 7̂ in minor

b 3ˆ
& bbb nw nw w
4̂
w
1̂ 2̂ 5̂ 6̂ 7̂ 8̂
b w w w w
& b bbbbb
107
B bbb
93
b
& b bbbbb
115
0b
1b
b
a
& b bbbbb
123
0#
d e
2b 1#
#
g b
2
3b c 3# f
#
4#
7# 5# c#
4b 6#
f
a# g#
bb d#
ab
5b eb 7b
6b
Figure 3.2.1
B bbbbbbb
52
14 CHAPTER 3. MINOR SCALES AND KEY SIGNATURES
0b
1b C
F 0# G
2b 1#
Bb # D
2
3b E
b 3# A
b 4#
7# 5#
4b 6#
A E
C#
F# b
B
D b# #
6
#### #### ## #
C #### ##
# ## # b # ##
7b
75
5bb G #
& #
f# c# g# d# a#
a e
b
bb bb
b b b b minor
6 bb
b b b b busing bbb
83
&Writingb harmonic minorband melodic b b scales

b when b b b b
minorb key
signatures
a requires
d gyou to raise
c scale fdegrees. bb eb ab
Harmonic Minor scale: raise 7̂ in minor
b 3ˆ b 6ˆ
& bbb w w nw w
1̂ 2̂ 4̂ 5̂ 7̂ 8̂
w w w w
91
B bbbbbbb
53
Melodic Minor scale (ascending version): raise 6̂ and 7̂ in minor
b 3ˆ
b w
&bb nw nw
4̂
w
1̂ 2̂ 5̂ 6̂ 7̂ 8̂
w
92
w w w
Compositions in minor typically do not strictly use only one of the three
b
minor scales, however. The three minor scales are distillations of composers’
&bb
93
actual practice.
b
&bb
115
b
&bb
123
3.3. SCALE DEGREE NAMES 15
5
bb 4 ‰ œ n œ œ œ œ œ b œ œ œ œ œ œ n œ œ œ œ œ œ œ œ
harmonic minor harmonic minor
58 natural minor
b
& 4 œ œ
7̂ b 6ˆ b 7ˆ 7̂ b 6ˆ 7̂
5
b
&bb
60
bb 4 ‰ œ n œ œ œ œ œ b œ œ œ œ œ œ n œ œ œ œ œ œ œ œ
harmonic minor harmonic minor
natural minor
b
58
& 4 Figure 3.2.2:œ J.S. Bach,œ C Minor Invention

YT: HFeLqgVLxBM
7̂ b 6ˆ b 7ˆ 7̂ b 6ˆ 7̂
5
œ minorœ œ œ œ œ œœharmonic
10 natural minor
bbb C4 Ó Œ œ œ œœ œœœ œ œ œ natural

œ œŒ œ œ œ n œ œ œœ œœ œ œœ Œ œ œœœ
harmonic minor minor
œ œ
60
& b ‰ n œ b œ
58
& # b œ œ
& 4 4œ œ œ œp œ œ œ œ œœ œ # œ œœ œ œ œ œ b 7ˆœ bœ6ˆ œ œ œ w
4 œ œ
148
b b
6ˆ rice7ˆ b
ˆding has been,
œ
œ œ #œ œ œ œ œ
El - ean - or Rig7̂ - by, picks up the in the church where 7̂ minor
her wed
harmonic -6 7̂
# b 4œ œ œ œ œ œ œ œ œ œ
65
& b
& 4 œ œ œ œ œ œ œ œ # œ œœ # œœ œ œ œ œ œ w
œ Œ
152 without syncopation
œ œin the Œchurchœ7̂whereœ herœb 6ˆœwedœ- dingœ œhas œ been,

natural minor
60
b b C El -Óea - norŒ Rigœ-œby œpicksœ œupœ theœ rice œ Œ œœ

&
p incorrect rhythmic notation b 7ˆ b 6ˆ
bb 4 6 œ O0PChj-uQPo
69
& 4 œ œ œœ œ œ œ œharmonicœ œ minor œ œ œ œ œ. œ œ

156
& 8 YT: œ œ # œ œ J
b œ œ œMozart, œ œ Symphony
œ œ Œ 40 in G Minor, œK.œ550,œ 1stœ movement
65
& b 3.2.3:
Figure No. œ œ
correct rhythmic notation
1 2 7̂ b 6ˆ1 2
& 68 harmonic
œ œ œminor
œ œ œ œ œ œ œ œ œ œmelodic œ œ .minor
œœ
158
b œ
& b b 44 ‰ œ n œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ n œ n œ œ œ œ œ œ œ
69
œ
measured horizontally =b ˆ"melodic" interval b 6ˆ
œ œœ ..
# # œœ œœ œœ .. ˙
7̂ 7̂
# # œœ
6 7̂ 6̂
?4 œ ˙
160
b 4 J J J J
&bb
72
YT: xp3zPzDnTEk
measured vertically = "harmonic" interval
Figure 3.2.4: J.S. Bach, Well-Tempered Clavier, Book One, Fugue 2 in C
Minor
w w w w
?w w w w
162
w
3.3 Scale Degree
perfect major Names
major perfect perfect major major perfect
unison second third fourth fifth sixth seventh octave
(P1) (M2) (M3) (P4) (P5) (M6) (M7) (P8)
Scale degrees, though often referred to by numbers, also have names.
subdominant dominant submediant leading tone

mediant
w7̂
tonic supertonic
?w w w w w6̂
w
163
1̂ 2̂ 3̂ 4̂ 5̂
?
164
perfect major major perfect perfect major major perfect
(P1) (M2) (M3) (P4) (P5) (M6) (M7) (P8)
submediant leading tone

mediant this textdominant
subdominant
w
These supertonic
tonicnames will be used throughout to refer to scale degrees,
?w w w
6̂ degrees. 7̂
w w
w
163 chords built
1̂ on these
2̂ scale degrees,
3̂ and keys 5̂ these scale
4̂ associated with
2
D¯≤ major scale A major scale
?
21
names &
Another way to understand why some scale degrees have “sub-” in their
is through the following example.
supertonic mediant dominant
? &w w
w
Etonic
b ww
major scale
?
164
w w
23
HW
C˜ major scale A¯≤ major scale

?
25
subtonic submediant subdominant
&
3
Notice that the subtonic is a whole step below the tonic, while the leading
tone is?
55
only a half step below the tonic.
DOuble bars? new clefs?
? bb # # #2. B¯≤ major# ## #### #

bbb
3. F˜ major 4. D¯≤ major
27
bb b ##
1. A major 5. D major
& ____
60
____ ____ ____ ____ ____ ____

1 2 3 4 5 6 7
6. C¯≤ major 7. E¯≤ major 10. C˜ major
# # # # b bExercises #### # ####
8. B major 9. F major
b bbb bbbbbbb bbbbbb

34
3.4 Practice
?& b # #
65
____ ____ ____ ____ ____ ____ ____

1. 9 key 10
Specify8the minor 11 signature
for each key 12given. 13 14
? bb b b ## #### #
41
? bb bbbb bbbbb
69
HW
HW bb
1. E¯≤ major 2. C˜ major 3. G¯≤ major
____ ____ ____ ____ ____ ____ ____
4. D major 5. F major
1 2 3 4 5 6 7
& ### bbbbbbb #### ## #### bbb #### #

74
b
48
& # # #
6. B major 7. D¯≤ major 8. F˜ major 9. A¯≤ major 10. G major
?
79 ____ ____ ____ ____ ____ ____ ____
8 9 10 11 12 13 14
# ## #
& # # 2.
55
11. C¯≤ major 12. A major 13. B¯≤ major 14. E major
Write the minor key signature and specified minor scale in each example.
?
83
&
## #
& # ##
63
B melodic minor scale F harmonic minor scale
(include key signature) (include key signature)
4 85
& the minor key signature for the given key in each example. ?
HW
3. Write
? A¯≤ harmonic minor scale C˜ melodic minor scale
89
(include key signature) (include key signature)
?
87
2. F˜ minor 4. D˜ minor 5. A¯≤ minor
&
1. D minor 3. F minor
&
94
G natural minor scale F˜ melodic minor scale

6. B minor 7. C minor
(include key signature) 8. G˜ minor (include ¯≤ minor
9. Bkey signature) 10. E minor
?
89
?
99
HW
1. F minor 2. E minor 3. A˜ minor 4. G minor 5. B¯≤ minor
104
&
4. Specify the key from the scale degree name.

2
(a) minor: A is the mediant
2
(b) minor: D is the subtonic
(c) major: B is the dominant

(d) major: C is the submediant
4
(e) minor: D is the subdominant
2
(f) major: B is the leading tone
4
(g) minor: E is the supertonic
Click here to download the homework.

Chapter 4
Basics of Rhythm
In relation to rhythm in music, we will discuss time signatures, durational

symbols, meter, beat, pulse, tempo.
E b major
bb
& b w œ (b œ )
94 C minor
( ) w
half steps between: 1 2 3
4.1 Time Signature
b #### # ### #
&b bbbbb # bb
95
bb
b signature, the topF #number of the
f # time signature
subtract 1 sharp
add 3 flats subtract 3 sharps and add 2 flats
In a B
time G tellsgyou “how
many” and the bottom number tells you “of what.”
3 ## 4 b b b b 85 ### 6
"How many?" 3 4 5 6
&b 2
101
4 16
"Of what?" 1/2 notes 1/4 notes 1/8 notes 1/16 notes
(half notes) (quarter notes) (eighth notes) (sixteenth notes)
4 whole
w
&4
note
105
4 half
˙ ˙
106
&4
notes (equal 1/2 of a whole note)
4.2 Durational Symbols

4
&4 œ œ œ œ
107 quarter notes (equal 1/4 of a whole note)
& 44 œ
In the present
eighth day, the 1/8
most common time signature is 44 (also known as
œ œ œ œ œ œ œ
108 notes (equal of a whole note) (can be beamed or flagged)
J J J J
“common time”). It makes sense to introduce durational symbols in the context
of 44 because a whole note takes up a whole measure in 44 , a half note takes up
half a measure of 44 , a quarter note takes up 41 of a measure, and so on.
4
& 4 œ œ œ œ œ œ œ 19œ œ œ œ œ œR œR œR œR
sixteenth notes (equal 1/16 of a whole note) (can be beamed or flagged)
109
& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œR œR œR œR œR œR œR œR
110
thirty-second (32nd) notes (equal 1/32 of a whole note) (can be beamed or flagged)
ÔÔÔÔÔÔÔÔ
b F 3 # # 4f the measure b b b 5Gthe measure # # #g 6 the measure
&b 2 4 b 8 16
the measure
## 4 ### 6
20 1/2 note is 1/4 note is 1/8 note is 1/16 RHYTHM
note is
b b b b 85
CHAPTER 4. BASICS OF
3
3 beats in 4 beats in
beat value beat 5 beats
value in beat value 6 beats in
beat value
2 4 & 44 w 16
the measure the measure whole note
the measure the measure
105
1/4 note&is4 ˙ ˙
106
4
half notes (equal 1/2 of a whole note)
1/2 note is 1/8 note is 1/16 note is
beat value beat value beat value beat value
& 44 œ œ œ œ
44 w
107 quarter notes (equal 1/4 of a whole note)
whole note
& 44 œ œ œ œ œ œ œ œ
108 eighth notes (equal 1/8 of a whole note) (can be beamed or flagged)
J J J J
44 half
˙
notes (equal 1/2 of a whole note)
œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ
& 44 œ œ
109 sixteenth notes (equal 1/16 of a whole note) (can be beamed or flagged)
R R R R
4 œnote)
44 œ
110
œœœœœ œœœœœœœœœœœœœœœœœœœœœœœœœœ
œ œ œ RÔ RÔ RÔ RÔ RÔ RÔ RÔ RÔ
&4
quarter notes (equal 1/4 of a whole
Figure 4.2.1
4 œ
111
&(equal 1/8 of a whole note) (can be beamed or flagged)

eighth notes
4 J J J J
44 sixteenth
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
notes (equal 1/16 of a whole note) (can be beamed or flagged)
R R R R
44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
RÔ RÔ RÔ RÔ RÔ RÔ RÔ RÔ
Here are durational symbols for rests.
quarter eighth sixteenth 32nd

whole rest half rest
∑ Ó Œ ‰ ≈ ®
111 rest rest rest rest
&
To put this information into practice, listen to the durational values double
in speed in each measure of the following example.
œ œ ˙
? 44
œ œ œ œ œ œ œ œ 44
œ œ œ œ Middle C
4.3. DOTS AND TIES 21
eighth notes are twice sixteenth notes are twice
4
as fast as quarter notes as fast as eighth notes
& 4 œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
5
sixteenth notes are four times

this pattern of 8 notes
˙ ˙ ˙ ˙
faster than quarter notes
? 44 ˙ .. ˙ .. .. ˙ ..
takes 8 beats
˙
this is another way of notating
32nd notes are twice as fast as sixteenth notes 32nd notes, showing 4+4
(there are eight 32nd notes for each quarter note)
& œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ w
9
this pattern of 8 notes
? ˙ ˙
takes 1 beat
˙ ˙
Two rare durational values are the double whole note (also called a “breve”)
and the 64th note, which is twice as fast as a 32nd note.
& ∑ ∑ ∑two∑ways
∑ of∑notating
∑ ∑the∑ ∑ double
∑ ∑whole
∑ ∑ ∑64th∑notes
∑ ∑ ∑ 64th∑
11
? ∑ ∑&∑ ∑ W › „ œœœœ œ Ù
double whole note (or breve) rest rest
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ RÔ ∑ ∑ ∑
Ô
4.3 Dots and Ties
We have a whole note, which lasts for four beats, and a half note, which lasts
for two beats, but we don’t have a durational value that lasts three beats. To
do so requires using a dot or a tie.
A tie links two notes together to create a new duration. Ties occur between
8 notes of the same pitch. A slur, which looks like a tie, is placed over or under
notes of different pitches and means to play them in a connected manner.
œœœœ œ
two ways of notating the double whole 64th notes 64th
&
A dot addeddouble
to awhole
W › „ Ù
112 note (or breve) rest rest
note increases the duration of that note by half. A
RÔÔ
second dot represents half the value of the first dot, or a quarter of the original
duration. (These are known as “double–dotted notes.”)
tie joins notes together
j
to create a new duration
& ˙. ˙ œ ˙ .. ˙ œ œ
J ˙ œ œ
113
= =
dot equals half of second dot equals half of
the note's duration the first dot's duration slur means to play with no
& 44
audible gap between the notes
118
?
22 11. E¯≤ minor C˜ minor 4. BASICS
12.CHAPTER 13. C minor 14. D˜ minor
OF RHYTHM
8 4.4 Meter
j
˙ ..„ œœ œ œœ œ œœR œ Ùœ œ œ
W ›
113 Meter describesdouble the number of breve)
beats in arestmeasure (also know asrest a “bar”) and
&
112 whole note (or
how the beats are normally divided.
Example =
115
Beat is "[t]he basic pulse underlying measured music and thus the unit by Ô Ô
which musical time is reckoned..." according to Barry Kernfeld in The New
œ œ œ
Grove Dictionary ofnotes
tie joins Jazz, 2nd edition. Pulse and beat are synonymous.
together
speed 1.
=
j
to create
toa new
the duration
& ˙. ˙ ..
Tempo refers of the beat or pulse. Tempo can be referred
˙ œ ˙ œ œ œ
J ˙ œ
113
116 to in beats per minute (bpm), such as 60bpm (where the rate of the beat
117 would be equal = to a second), or, in Classical = music, with terms like Allegro,
Andante, and Adagio,
dot equals half of
Metronome.
the note's duration
sometimes
2.
in combinations
second dot equals half
the first dot's duration œœ
=of with "M.M." for Maelzel’s
slur means to play with no
Meters with two beats in a bar are described as duple. If there
audible are the
gap between three
notes
œœœœœœ
beats in a bar, the meter is described as triple, and if there are four beats in
3
8 118 a bar, the meter is described as3. quadruple. =
&4 œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
3 5 6
œœœ œ Ù
If the beats are normally divided into two parts, the meter is described
& W › „
double whole note (or breve) rest rest
as simple.118If the beats are normally divided into three parts, the meter is
112
= œ œ œRÔÔ œ
described as compound. triplet quintuplet sextuplet
4.
j tie joins
j notes together
120 two beats="duple" three beats="triple" four beats="quadruple"
& 28 œœ œ to œœcreateœa new duration

32 ˙œ œ ˙œ œ ˙œ œ 44 œœ œ œœ œ œœ œ œœ œ
j
& ˙. = ˙ œ ˙ .. = ˙ œ œ œ
J ˙divide intoœtwo parts
?
113
119
each of these meters is "simple" because the beats in each bar naturally
j j
Thethetwo
time
note's signature
duration
beats="duple"
2 is “simple duple
the first dot's
8three beats="triple" meter.”
duration The slur
time signature
four beats="quadruple"
means
3 is
to play with no
6 œ . œ . 9 œ . œ . œ . 12 ˙ . ˙ . ˙ . ˙ .
2
“simple triple meter.” Finally, 4 is “simple quadruple meter.”
4 audible gap between the notes
& 16 œ œ œ œ œ œ 8 œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ
123
When describing meter, we say how the beat is divided before the number
3
118
of beats in the measure.
& 4 =œ_____________________
œ œ œ œ œ œ œ œ ___________________________
œ œ œ œ œ œ œœœœœœ
3 5 6
Metereach of these meters is "compound" because the beats in each bar naturally divide into three parts
("simple" or "compound")triplet ("duple,"quintuplet
"triple," or "quadruple")
sextuplet
126
(how the beat is divided) (the number of beats)
& 120
j j
two beats="duple" three beats="triple" four beats="quadruple"
2 œ œ 32 ˙œ œ ˙œ œ ˙œ œ 44 œœ œ œœ œ œœ œ œœ œ
With compound meters the bottom number specifies the division of the beat.
&8 œ œ œ œ
The beat value is a dotted note. We say 16 6 is “compound duple meter” because
it has two beats. The time signature 8 is also compound duple. Compound
6
time signatures have a top number greater than four that is divisible by 3 (6,
9, 12).each of these meters is "simple" because the beats in each bar naturally divide into two parts
j j
two beats="duple" three beats="triple" four beats="quadruple"
. . . . . . . . .
& 16 œ œ œ œœ œ œ 98 œœ œ œ œœ œ œ œœ œ œ 12
6 œ
4 ˙œ œ œ ˙œ œ œ ˙œ œ œ ˙œ œ œ
123
each of these meters is "compound" because the beats in each bar naturally divide into three parts
126
& 4.5 Tuplets

Tuplet is a generic term that describes a grouping of notes that would not
normally occur within a beat.
A quarter note naturally divides into two eighth notes or four sixteenth
notes. A triplet is a grouping of three eighth notes that occurs within the
span of the quarter note. A quintuplet would be a grouping of five sixteenth
notes to occur within the span of one quarter note. It is not uncommon to see
j
& ˙ .two beats="duple" ˙ .. = ˙
˙ threeœ beats="triple" œ fourœ beats="quadruple"
triplet quintuplet sextuplet
œ
triplet quintuplet sextuplet
J ˙ œ
113
j j
= each of these meters is "simple" because the beats in each bar natura
j j
120
4.6. 2COMMON
œ œ 3 ˙ ˙ ˙ 4 œ œ œ œ
120 two beats="duple" three beats="triple" four beats="quadruple"
2 œ œ 3
& 8 œ œ œ œ 2 œ &œ 8 œœ œ œœ œ œ 2 œœ œ4 œœ œslurœœmeans ˙ ˙ ˙ j
œœ toœ play 4
j œ œ œ œ
œœ with
.œthe
œ4œnonotes
RHYTHMIC NOTATION ERRORS two 23
beats="duple" three beats="triple" four beats="quadrup
. œ9 œ œ œ. œœ .œ œœ . œ œ 12 ˙ . .
audible gap6between
& 16 œœœœœœœ 8 œ œ œ œ œ œ œ œ œ 4 œ œ œ ˙œ œ œ
the note's duration the first dot's duration 123
quintuplets, sextuplets, and septuplets.

each of these meters is "simple"each
because the beats
metersiniseach bar naturally divide into two parts
3 œ beats="duple"
118 of these "simple" because the beats in each bar naturally divide into two parts
œ œ œ œ œ œ twoœbeats="duple"
œ œ œ œ œ œ œ œ œfourœ beats="quadruple"
œœœ
3 5 6
& 4 two
each of these meters is "compound" because the beats in each bar natur
j 123j j j
three beats="triple" 126four beats="quadruple"
6 œ . œ . 9 œ . œ .6 œœ. . œtriplet . 9˙ . œ .2 quintuplet

œœ˙œ.œ.œœœœ œ. œœ˙ .12 ˙ .˙œœ. œœ œ˙œ . œ œ ˙œ . œ œ ˙œ . œ œ
three beats="triple"
12 œ œ
&If16youœœœœœœ 8 œ œ œ œ œ œ œ œ œ 4 œ œ œ œ
123
& 16 œœœœœœ 8 & œ œ4 4

sextuplet
write a piece of music that naturally has a triplet division to the

120 beat, you should use 68 , 98 or 12 8 depending on the number 3 of3 beats in each
&
each of these meters is "compound"
each because the beats
of these meters in each bar naturally
is "compound" divide
because the into
beats threebar
in each parts
naturally divide into three parts
126 measure.
126
& 42 œ œ œ œ œ œ & 4 œ œ œ œ œ œ & 68 œ œ œ œ œ œ

2
3 3 3 3
Figure 4.5.1: Two measures

127 that sound the same
6 œ & 68 œ œ œ œ œ œ
128
& 8 œ œ œ œ Inœ compound &

9
meter, a duplet is a grouping of two eighth notes to occur
within the span of a dotted quarter note and a quadruplet is a grouping of
four eighth notes to occur with the span of a dotted quarter note.
4
127
127
& 68 œ&
128
9
.
& 4 4œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
128 duplet quadruplet
&4 œ œœœœœ œœ œ œœœ

2 4
4.6 Common Rhythmic Notation Errors

The standard practice when notating rhythms is to use beaming to show where
the beginning of each beat occurs.
4& 44œ œ œ œœœœœ œœ œœ œœœ œ œ œœ œœ œ

Consider the following example:
&4 JJ
It is difficult to discern where the downbeats are.
downbeats? ? ? ?
4 œ œ œ œ œ œ œ œ œ œ œ
4& 4œ J œ œ œ œ œ œ œ œ œ
downbeats? ? ? ?
&4 J
Here is the same rhythm correctly notated. The downbeats provide a ref-
œ
9
erence point, matching the conductor’s beat pattern or your tapping toe.
1 2 3 4
& 44 œ œ œ œ œ œ œ œ œ œ œ œ
In compound meters like 6,
8 the beat is the dotted quarter.
4
& 4 œJ œ œ œ œ œ œ œ œ œ œ
4 œœ œ œ
& 4 œ œ œ œ œ #œ œ #œ œ œ œ œ œ w
El - ea - nor Rig - by 24 picks up the rice in the church where her wed4.
CHAPTER - ding has been,
BASICS OF RHYTHM
6
incorrect rhythmic notation
& 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œJ
156

1 2 1 2
6 .
9
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
158
&8
1 2 3 4
4 œ œ œ œ œ œ œ œ œ œ œœ9
130
&4
1 2 3 4
& 44 œ œ œ œ œ œ œ œ œ œ œ œ
130 The exception to this practice of “showing the beats” involves syncopation.
131
44 œbeatsœ œandœ on
Syncopation occurs when notes on&weak œ œweakœ œpartsœ ofœbeats
œ
131
J
are emphasized and nearby strong beats are deemphasized. Syncopation is
& 44 œJ œ œ œ œ œ? œ œ? œ œ? œ
common in popular music.
132
downbeats?
& 44 œ œ(inœ 24œ and

œ œ 34 )œand
œ beats
œ œ1 œand
J ties across those strong beats.
Strong beats are the first beat of each measure
3 in . Syncopation at the beat level involves
4
4
132
downbeats?
Numbers in parentheses in the example below are beats? that ?are obscured
?
& 44 (1)œJ œ œ œ œ œ œ œ œ œ œ
through syncopation.
2
&4 œ œ œ œ œ œ ˙
133
2
& 434 œœ œ œ œ œœ œœ œ œœ œœ œ ˙˙ .
137
133 (1)
(1)
&
43 œ œ œ œ œ œ ˙. ˙
141
œœ œ˙
137
(3)(1)
&4 œ œ œ œ
(1)
4
141
&4 œ œ œ œ œ ˙ œ œ œ ˙
(1) level. Below are two
(3) of the beat
Syncopation can also occur at the division
syncopation figures that don’t show the beat but are acceptable because they
144
&
are common and to write them out correctly involves more symbols (beamed
eighths and ties) for the performer to comprehend.
144 exceptions to rhythmic notation rules
& 44 œJ œ œ œ œ œ 44 œ œ œ œ œ
158 J J J J J
& 2-beat
syncopated pattern
4-beat
syncopated pattern
146
& 44 œ œ œ œ œ œ œ œ 44 œ œ œ œ œ œ œ œ
this "proper" rhythmic notation of the above syncopations is not required
166
&
An example of syncopation at the eighth–note level (the division of the
148 beat) can be found in the following example from “Eleanor Rigby.”
&
# 4 œœ
4 œ œ œ œ œ œ œ œ œ œ #œ œ œ œœ œ œ œœ œœ w
148
&
El - ean - or Rig - by, picks up the rice in the church where her wed - ding has been,
#
& 44 œ œ œ œ œ œ œ œ œ #œ œ #œ
without syncopation
œ œ œ œ œ w
152
El - ea - nor Rig - by picks up the rice in the church where her wed - ding has been,
Notice how syncopating notes gives them emphasis and creates a “pull”
6
& 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œJ
against the rhythm
156 of the accompaniment.

1 2 1 2
6
& 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ
158
œ
measured horizontally = "melodic" interval
#œ œ .. #œ œ œœ .. ˙
? 44 œ # œ œ ˙
160
J J # œ œ
J J
measured vertically = "harmonic" interval
?w w w w w w
w w
162
w
(P1) (M2) (M3) (P4) (P5) (M6) (M7) (P8)
4.7 Practice Exercises
subdominant dominant submediant leading tone
mediant
w7̂
tonic supertonic
? w1̂ w w w w6̂
w
163
2̂ 3̂ 4̂ 5̂
supertonic mediant dominant
? After ww w
tonic
w b ww
164
1. listening to each example, specify the meter (e.g., “compound

triple”).
w
subtonic
(a) Sousa, “Washington Post March”
submediant subdominant
(b) The Beatles, “Eleanor Rigby”

(c) Verdi, “La donna e mobile”
(d) Third Day, “Morning Has Broken”

(e) Latch featuring Sam Smith, “Disclosure”
˙. #œ
œ œ œ œ#œ œ œ œ œ œ œ œ œ
Beethoven, Op. 57, I, mm. 78-80
& # ˙˙ .. # œœ ‰ Œ ‰ œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ?
& ∑ # œ.
? ˙.
p f
CHAPTER 4. œ BASICS œ œ œ œ . RHYTHM
26
œ ‰ œ œ nœ . .
œœ
OF
˙ œ . n œ Corelli,
f specify the implied time signature and the meter (e.g.,
# w œ œ
Op. 5, No. 1, mm. 12-15
˙˙ ˙ ˙˙duple”). ˙˙ ˙w n#
& # ˙˙ ˙˙ ˙˙
2. For each example,
w Ó ˙ ˙˙
15
˙ ww ˙ ˙ w
“simple
49
bb œ ˙ œ ˙≈ ≈ b œr˙ œ œ ˙œ œ œ œ. œ œ # œ ≈ œ œ
#
Beethoven, Op. 110, III, mm. 124-125
? 2142# # ˙
Kr
˙ ˙& œ Ó JÓ n ###
œ
˙ & ∑
14
& poco cresc. ∑ ˙ p˙ cresc.
? b œœ œœ œœ œœ œœ b œœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ # œœœ œœœ œœœ œœœ œœœ œœ œœ œœ
b b n œœ œœ œœ œœ œœ nœ œ œ œ œ œ œ œ#
∑ & ∑ œ?
? ##
19
& #
# œ j Signature: œ œ œ Corelli,œ Op. 5, No. 1, mm. 12-15
Mozart, K. 283, III, mm. 187-190
& 51 œJ ‰ a. Time
œœ œ #œ œ œ œMeter: œ œ J Corelli, Op. 5, No. 1, mm. 12-15
w ˙˙ ˙˙˙ ˙ ˙˙ p ˙w ˙ œ œœ œ n #
b b ∑ ∑ &∑ #### ∑w˙˙˙˙ ∑ œ˙˙˙ ∑
˙˙
˙˙˙∑ ˙
∑˙˙˙˙˙ ∑ wwwww ∑ ∑ ∑Ó Ó ∑˙ ˙˙˙ ∑ ˙˙∑ ∑˙ ˙˙˙ ∑w ww∑ ∑ ∑
15
& œ # œ œ &œ œ n œ
?# œ
˙
15
J ˙w ‰˙ j j j
?#
? # ## ˙˙ ˙˙ ˙‰ ‰ ˙ ˙‰ & œ Ó œœ ˙ ‰˙ œœ Ó #
˙ ˙
˙
˙ ˙ ˙ œ Ó ˙ Ó n
? b4b œR≈≈Œ‰. . ∑b. Time p˙ ˙
∑ ∑ Signature:
∑ ∑ ∑ ∑ Meter:
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& œJ? # œn œ
19
# œ j
# œ œ œ
Mozart, K. 283, III, mm. 187-190
&∑ ∑ ∑J b
‰ œœ œ #œ œ œ œ œ
23
& # ∑
89
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
19
4. D˜ #minor
p
j ? nj
œœ
œ # œ œ œ œ2. F˜ nminor
& œ ∑ œœ b ‰ œœ
? # 1.œ D minor J ‰ ‰
3. F minor
‰ ‰&
5. A¯≤ minor
j
œ
&
94
? # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ p ∑ ∑
c. Time6. Signature:
B minor 7.Meter:
C minor 8. G˜ minor 9. B¯≤ minor 10. E minor
#
∑
Gervaise, "Pavane Passamaize" from Sixième Livre de Danceries, 23
m. 7
?& b œ˙ œ œ œ˙ œ # œ œ œ &
24
˙œ œœ #
99
œ œ
& ∑?
HW
œ œ2. E œminorœ œ
? b œ˙
3. A˜ minor 5. B¯≤ minor
œœ b œœ œœ œœ
1. F minor 4. G minor
˙
104
&
#
∑ 6.∑F ∑ ∑ ∑ ∑ ∑ 10. A¯≤ minor
24
& ˜ minor 9. G˜ minor

d. Time Signature: 7.Meter:
?
109 A minor 8. B minor
&b ∑ ? # ∑ ∑ ∑ ∑ C˜ minor 13.∑C minor 14. ∑

25
3.
∑ ∑ ∑
11. E¯≤ minor
12.
∑ ∑ D˜ minor
∑
Use one note value (with one or two dots as necessary) to show the sum
of all the rhythmic values given.
? j
b ∑ ∑ ∑ ∑ ˙ .. =œ œ ∑œ œ œ œ œ∑
113
Example
115
1. =œ œ œ
116
117
2. =œ œ
3. =œœœœœœ
118
4. =œ œ œ œ
?
119
4. Correct the incorrect rhythmic notation in each example in order to show

the beats. The subdivisions grouped into beats are shown in parentheses
11
above the rhythms to be corrected.
Incorrect Correct
ã 43 œJ . 43 œ .
(œ œ œ œ œ œ œ œ œ œ œ œ ) (œ œ œ œ œ œ œ œ œ œ œ œ)
Example œ œ œœ œ œ. œ œœœ
3 ( œœ œœ œœ œ œ œ œ œ œ œ œ œ)
œ œ œ œ 3 (œ œ œ œ œ œ œ œ œ œ œ œ)
1. ã4 4
ã 68 œ
68 ( œ
(œ œ œ œ œ œ œ œ œ œ œ œ ) œ œ œ œ œ œ œ œ œ œ œ)
œ œ œ. œ œ œ
379
2.
J
6 œ œ œ œ œ œ œ œ œ œ œ œ)
œ œ 68
(œ œ œ œ œ œ œ œ œ œ œ œ )
ã8 ˙ œ
381
(
3.

ã 44
383
28 CHAPTER 4. BASICS OF RHYTHM
10
10
# 4 œœ
& # 44 œœ œœ œœ œ œ œ œ œ œ œœ œ œ #œœ# œœ œœ œ œ œœ œ œ œœ œœ œœ œœ œ œ w w
148
148
& 4 œ œœ œ œ œ
Chapter 5 El - ean - or Rig - by,
El - ean - or Rig - by,
picks up the rice in the church where her wed - ding has been,
picks up the rice in the church where her wed - ding has been,
# 4 without syncopation œ
& # 44 œ œ œœ œ œ œ œ œ œ œ# œ# œœ œ # œ# œ œ œ œ œ œ œ œ w
152 without syncopation
152
& 4 œœ œ œ œ œ œ œ œ w
Intervals El - ea - nor Rig - by picks up the rice in the church where her wed - ding has been,
El - ea - nor Rig - by picks up the rice in the church where her wed - ding has been,
6
& 86 œœ œ œœ œœ œ œ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ.œ .œ œJœ œ

156
156
5.1 Introduction &

to8 Intervals J
1of scales,notation
2 1 2 melodies.
& 686 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . .œ œ
building correct
Intervals are the 158 blocks rhythmic chords (or harmonies), and
Intervals are a measurement between two pitches, either vertically2 or hori-
1 2 1
&8 œ œœœ œœœœœœ œœ œ œœ œœ

158
zontally. When measuring vertically, we refer to harmonic intervals because
the two notes sound simultaneously. When measuring horizontally, we refer to
melodic intervals because the notes occur one after the other.
œ
.
? 44 œ # # #œœœ œœœ. . #œ œ œœ .. ˙
˙˙
160
œ
# œ œ
? 44 Jœ # Jœ œ . J# œœ J œœ œœ .. ˙
160
#
J measuredJvertically = "harmonic" J interval
J
When you measuremeasured
fromvertically
the tonic=up
"harmonic" interval
to each scale degree of a major scale,
?
162
you find the following intervals:
?w w w w w w
w w
162
w
(P1) (M2) (M3) (P4) (P5) (M6) (M7) (P8)
?
163
All intervals in the example above are either “perfect” or “major.”
5.1.1 Numeric Size of Interval

There are two elements to naming intervals: the quality and the number (for
example, “major sixth,” abbreviated as “M6”). Let us first focus on the numeric
size of intervals. 11
Odd–numbered intervals will always be a line to a line or a space to a space.
? ww ww ww ww w w
165
w w
3rds 5ths 7ths
Even–numbered intervals will always be a space to a line or a line to a
? ww ww ww w w w w
ww w
168 space.
w w w
29
2nds 4ths 6ths 8ves
?
172
? ww ww ww ww w w
w w
3rds 5ths 7ths
30 CHAPTER 5. INTERVALS
? ww ww ww w w w w
ww w
168
w w w
2nds 4ths 6ths 8ves
?
172
11
? ww ww w ww w w
165
w w w
?
185
5.1.2 Interval Quality: Perfect versus Major/Minor
3rds 5ths 7ths
11
? ww ww ww ww w w w w
w
168
ww
Intervals such as the unison, fourth, fifth, and octave can be classified as “per-
w w
? ww ww 2ndsw ww w
but never “major” or “minor”. Conversely, the intervals of the second,
?
fect”
w
192
w w
third, sixth, and seventh can be major or minor but never perfect in quality.
4ths 6ths 8ves
Perfect Intervals: Unison, 4th, 5th, 8ve
w bw w w
Major or Minor Intervals: 2nd, 3rd, 6th, 7th
?
172
3rds Perfect intervals5ths 7ths
w w w #w
are always natural to natural, sharp to sharp, and flat to
?
4
flat except for the fourths and fifths between B and F, which involve B to F
199
w ww w w nw
2
w w
and B to F. M7 m7 M7 m7
? ww ww ?w b w # #www w # w b b ww b n ww
n b ww # n ww wbb ww ## www n w
perfect fourths perfect fifths perfect octaves
#w
174
bw # w n w
?
206
2nds 4ths 6ths 8ves

exceptions between B and F
?
w bw w w
177 Minor intervals are one half step smaller than major intervals.
?
172
w w w #w
?
199 M7 m7 M7 m7
?
174
?
206
5.2 How to Identify Perfect, Major, and Minor Intervals
?
192
Here are two methods for identifying intervals.
The first method involves thinking of the lower note of an interval as the
tonic (the first note of the scale). Remember that all the notes above the tonic
in a major scale are perfect or major. Determine if the upper note is in the
major scale. If it is not, determine if the interval is a half step smaller than a
major interval, in which case it is a minor interval.
?
199
? b w # # ww n b ww # n ww #w bw nw #w bw #w nw
174
bw # w bw bw n w bw #w nw
5.2. HOW TO IDENTIFY PERFECT, MAJOR, AND MINOR INTERVALS31
exceptions between B and F
bw
& w
Interval: m7
quality size
(P, M, m) (number)
8
think of lower
note as tonic & w
79
œ œ b w7
1 (3) (5)
& w
both notes are on spaces,
so count in odd numbers to
determine the numeric size
of the interval
E¯≤ is not in the F major key signature,
œ œ
180 key signature of F major so the interval is not major
&b œ œ œ Aœ œ
m7
E¯≤
F E
M7
12 If the lower note of an interval has a sharp or flat on it, cover up the
accidental, determine the interval, then factor the accidental back in.
#w #w # w #w
182
& #w w w #w
F˜ is in G major, raising G to G˜ makes
Interval: ?7 cover sharp on lower so this is a M7 this a half step smaller,
note to think in G major therefore it is a m7
instead of G˜
The second method is to memorize how many half steps there are in each
interval. To determine the size of an interval, count the number of half steps
between the two notes then refer to your memory.
186
# Number of half steps Name of interval Number of half steps Name of interval
& 1
2
m2
M2
7
8
P5
m6
3 m3 9 M6
4 M3 10 m7
5 P4 11 M7
6 Tritone* 12 P8
* A “tritone” is a generic name for an augmented fourth ( + 4) or diminished
fifth ( ◦ 5). These two intervals are enharmonic. Augmented and Diminished
Intervals are discussed later in this chapter.
#w #w # w #w
2
& #w 32
w w CHAPTER 5. INTERVALS
#w
bw œ bœ nœ bw
186 counting half steps F˜ is in G major, raising G to G˜ makes
b œ n œ b œ n œ
Interval: ?7
& b œ n œ
1 2 3 4 5 6 7 8 9 10
w w
cover sharp on lower so this is a M7 this a half step smaller,
note to think in G major therefore it is a m7
instead of G˜
10 half steps = m7
5.3 How to Write Perfect, Major, and Minor Intervals

bw #w b œ n œ bw
counting half steps
œ
186
#w & w b œ #
n œ b œ wn œ b œ n œ # w
2 1 2 3 4 5 6 7 8 9 10
& #w w w w #w
To write an interval above a given note, use the two methods given below.
If you are asked to write a minor sixth above the note A, start with the A
major scale and key signature. In A major, there is an10Fhalf stepsis= am7major
4
, which
F˜ isF inisGa major,
sixth above the note A. Therefore,
6 raising
minor sixth above G A.to G˜ makes
Interval: ?7
###
cover sharp on lower so this is a M7
w Nw
188 this a half step smaller,
note to think
? in G major
&w w w
12 therefore it is a m7
instead of G˜
# w up = ? #w # w #w
182
& m6
#w w w
M6 up is F#, according
#w A = F
m6 above
###
F˜ is in G major, raising G to G˜ makes
Interval: ?7
Alternatively, you can simply count
lowerthe
cover sharp on sonumber of halfthis
this is a M7 steps.
a halfIfstep
you know
smaller,
bw b œ n œ bw
counting half steps
œ
186
&
there are 8 half steps innote
a minor
to think sixth, you can count from thereforeA up to itF.is a m7
b œ n œ
in G major
& w b œ n œ b œ n œ
1 of2 G˜ 3 7 8 4 5
9 10 6
w
instead
Writing small intervals up to a major third below a given note is straight-
forward using a combination of whole and half steps. However, to write larger
intervals below a given note, it is sometimes helpful to invert the interval first
10 half steps = m7
(Inversion of Intervals Explained is discussed in the next section).
### bw b œ n œ bw
counting half steps
œ
186
& # w# b œ nwœ b œ n œ b œ n œ
Nw
1 2 3 4
5 6 7 8 9 10
w
188
& 5.4 Inversion of #Intervals Explained

&w w w
?
10 half steps = m7
is F˜, according
### w Nw
m6188only
There are up = two
? notes inM6
an up
interval, one lower and onem6 aboveTo
higher. A =invert
F
&w w w
to ?A Major
an interval, change the position of the key
notes so the note that was lower is now
signature
###
higher.
& w w M6 up is F˜, according
& w w ww w
m6 up = ? m6 above A = F
w
w w
m6 & Awis below wF M3 ww w F
A is above w
In the above example,
m6a m6 inverts to a FM3. ThisM3
A is below is true for
A isall notes
above F a M3
(or m6) away from each other. Below are examples of how intervals invert.
& & b ww b ww ww w b ww w ww w ww ww # ww # ww
195
w bw w
m2 M7 M2 m7 m3 M6 M3 m6 P4 P5 °4 +5
201 Note that the symbol ◦ represents “diminished” (one half step smaller than
& &
perfect or minor) and the symbol + represents “augmented” (one half step
larger than perfect or major).
Below is a chart of how intervals invert.
210
&
&
(larger)
5.5. AUGMENTED AND DIMINISHED INTERVALS 33
Augmented
HowMinorIntervals
(smaller)
Major Invert Perfect
Diminished
1 8 M m
2 7 P P
202
&
203
&
3# b ww
º3 6 # ww m3 +
# ww
#
M3 °
# ww
‹
+3
4diminished
third
5 minor third major third augmented
third
b ww ww # ww
207
º4 +4
&
P4
To write a small interval below a given note, you should be able to combine
whole steps and half steps up to the interval of a perfect fourth (two whole
diminished fourth
steps plus one half step). To write perfect
a largerfourth
interval belowaugmented
a given fourth
note, invert
the interval size, determine the note above, then write it below the given note.
w w #w w
210
& ?
invert interval:
m7 down = M2 up #w
m7 down = ? M2 above E is F˜ m7 below = F˜
& w
214
w
A is above F
5.5 Augmented and Diminished Intervals
219 Augmented intervals are one half step larger than perfect or major intervals
& and diminished intervals are one half step smaller than perfect or minor
intervals.
Remember that perfect intervals (unisons, fourths, fifths, and octaves) can 13
never be major or minor, and major and minor intervals (seconds, thirds,
sixths, and sevenths) can never be perfect in quality. However, any size of
interval can be augmented or diminished.
(larger)
Augmented
(smaller) Perfect
Major
Minor
Diminished
Here are musical examples illustrating the continuum of interval quality.
202
&
Diminished
203
# b ww # ww # # ww # ‹ ww
º3 m3 M3 +3
&
34 diminished CHAPTER 5. augmented
INTERVALS
minor third major third
third third
w #+4w
6 202
wwb ww & # ww b ww ww ? ww w
207
º4
& & w w
144 P4
ID # only #w
Ex. 3
diminished
____ fourth1. ____ 2.perfect
____ fourth 3. ____ 4.augmented
____ fourth
5. ____
bw # ww ?M3b ww bw
& bbwww # ww
150
#w bw
203
# ww # #4.ww____ # ‹ ww6. ____

º3 m3 +3
& #w
210
&
HW
1. ____ 2. ____ 3. ____ 5. ____
bw
& # ww # ww ? b ww # ww
diminished minor third major third augmented
156
# ww b w +4
third third
ID207
# & Qual
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& Practice
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w w b w
b w ? bww
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w
1. m6↑ 2. P4↑ 3. M3↑ 4. +6↑ 5. m7↑ 6. m2↑ 7
& 1.the #w
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4. Write note.
& w # w # w w
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186
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w bw #w bw
234
&
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240
&
Major
1. º5↓
Minor
2. m7↓ 3. P4↓ 4. M6↓ 5. m3↓ 6. +2↓
w ? #w #w
210
HW
Diminished
& bw w bw
w bw
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w bw ? w #w
216
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&
w ? bw
7. M7↓ 8. M2↓ 9. m3↓ 10. P4↓ 11. P5↓ 12. +6↓
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↑↓
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222
203
Chapter 6
# b ww # ww # # ww # ‹ ww
º3 m3 16. º7↓M3 17. M6↓ +3
&
13. º5↓ 14. +4↓ 15. m2↓ 18. P5↓
b #
# # major thirdBeethoven, Op. 127, II, third
b b b b b‰minor third
2284
&b j œ ## œj ˙ . œ
Triads diminished
Œ w.
mm. 100-102
augmented
bbb j # œ # œ n n n n # # # ˙ .‹ œ # œ œJ n œ œ œ œ œ œ œ
third
& bEx. œ . major

œ ‹ œ œ___ œ J œ
42
œ œ
Œ ‰b wœ ‰ Œ J . b¯≤J minor J J ___
w # w
+4J minor
#
207 B¯≤
J
b b cresc.
___ º4 1. ___ major
& w w w
P4
232
& # b b j
œ b œj œ . fourth
œ
j j
œ œ œj augmented
œ œ œj œ fourth j
?2. ___
6.1 Introduction
bb b b major œ b œ œ to j n #
Triads
n # # œ œ
œ œ œ œ œj
œ # #˙. œ œ œ œ
diminished
Œ ‰ ‰ Œ ‰ Œ œ nn œ œ œ
perfect fourth
œ J Jthirds.J A JtriadœJ isœ also J

___ minor 3. ___ major ___ minor
# ˙ . in consecutive
J
w w #w w
210 A triad consists ofIncorrectthree notes stacked Correct
6 # # # # w # w.
236
&
called a chord as well as a harmony. (Harmony also refers to chord progres-
ã8 œ œ œ œ œ œ œ. œ
invert interval:
‰Œ
45
sions.)
&
? m7 down = M2 up
? #### ∑
The lowest note of a triad when it is stacked in thirds is called the root.
The middle
m7 downnote
= ? is the third and the highest
M2 abovenote F˜the triadm7
E isof is below = F˜ (We
the fifth.
will discuss inversions of triads later.)
www ww Third
214
238
ww Fifth www ww Third

&& # ˙˙˙ ...wwww # # œœœ Third wwwww Third w w
FifthFifth Fifth Fifth
œn œ œwœ œ œ œ œ œ œThird
46
Fifth Fifth
Beethoven, Op. 57, I, mm. 78-80
Third
Fifth Third
‰Root
Œ ‰
Third
Root œ œ œ œ œ œ œ œ œ œ œ œ œ œ Root
œ œ œRoot
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ Root
Root œ œœœ
Root
œ œ . and
f of triads—augmented, major, minor, œ . di-
Root
p˙ . are four qualities
?
There
œ . œ œ
minished. œ ‰ œ œ n œ n œ œœ
˙. .
# www f www m3œ P5 b w
w b b www
218
& w
242
& & & &

+5 M3 P5 M3 º5 m3
M3 M3 m3 m3
49
r
b ≈ ≈ b œ œ major œ œ œ œ œ œ. œ œdiminished
œ ≈ œ œ
+ M º
œ œ œ
m Beethoven, Op. 110, III, mm. 124-125
rK
&b J
augmented minor
poco cresc. p triadscresc.

Major and minor triads are common, diminished are less common,
œœœ œœœ œœœ œœœ # œœœ œœœ œœœ œœœ œœœ œœ œœ œœ

and augmented triads are rare.
? b b n œœœ œœœ œœœ œœœ œœœ b œœœœ n œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
bœ œ œ œ œ œ œœ
6.2 Lead–Sheet Symbols
b b∑ œ
51
Lead–sheet symbols (also known as “lead–sheet notation” and “lead–sheet &

? b ‰Œ≈R.
chord symbols”) are often used as shorthand for chords in popular music and
jazz. These symbols allow a guitarist or pianist to choose how to “voice” the
b
chords, i.e., how they want to arrange the notes.
ww ww
C major triad in different voicings—all chords below contain only C, E, and G
& w ww ∑ ww
52
ww ww ww
w w ww
w ww
? ∑ ∑ w w ww w ww
w w ww
Lead–sheet symbols for triads communicate the root and quality of a chord.
35
36 CHAPTER 6. TRIADS
Lead–Sheet Symbol Chord Quality Notes in the Chord

F major F–A–C
2
Gm minor G–B –D
2
D◦ diminished D–F–A
4
C+ augmented C–E–G
Here is a musical example with lead–sheet symbols and guitar tablature.
"Edge of Glory" Stefani Germanotta, Fernando Garibay, Paul Blair

A E
### 4 ‰ j ‰
& 4 œ œ œœ œ œ œ œ œ œ œ œœ œœ
œ
## œœ .. œœ œœ œœ
& # 44 œ ..
There ain't a rea - son you and me should be a - lone to - night
j ? œ. œ œ œ
œœ . œœœ ˙˙˙ J
? # # # 44
œ w
˙.
F #m D
## j j
& # œ œ œ œ œ œ œ œ œ œ œ
3
.
? # # # œœœ ..
œœœ œœœ œœœ œœ ... œœ œœ œœ
3 yeah ba - by, night yeah ba - by,
J œ œ œ œ
J
? ### j
œ. œ œ œ w
œ. w
F B b/D F Bb B bFrancis C ø7/G
/D G mScott Keyb Band
b/FJohnFStafford
7 b
BSmith
"The Star-Spangled Banner"
3fr.
b 3 ˙ œ œ œ . (œ ) œ ˙
œ œ ( œ ) Garibay,
4 œ œ6.2.1:œ . Germanotta,
& b Figure
YT: jQ7BQuoRmbs
Blair, “Edge ofJ Glory”

5
J
j
œœœ œœœ ( œœœ ) ˙˙˙
O'er the land of the free and the home of the brave!
b 3 œœ .. œœ œœ œœœ ... ( œœœ ) œœ ˙˙

&b 4 œ œ
5
œ œ J œ ˙ by an
As you can see in the example above, major triads are represented
? b 3 œ œ œ bœ œ. j
uppercase letter ( A , E , and D ) while minor triads are represented with the
œ. j ˙
b 4 œ œ œ œ œœ ˙ œ bœ ˙
4
œ. œ œ
root in uppercase ( )followed by a lowercase “m” (e.g., F m ). Diminished triads
œ.
œ œ ˙
are represented by including the (diminished
) symbol ( ◦ ) after the chord root
œ œ
◦ ( )
(e.g., C ) while augmented triads( are) represented by including the augmented
symbol after the root ( C+ ).
B¯≤: V I/3rd V I I/3rd vi iiJ 7/5th I/5th V7 I
authentic
cadence
? #### ˙ ˙ œ œ œ nœ
#˙ #˙ ˙ ˙
6.3. INVERTED TRIADS 37

"Love Song" Sara Bareilles
6.3 Inverted Triads

Gm F/A B bsus2 C Dm C/E F D/F #
& b œ œ œ œ œœ œœ œœ œœ œœœ œœœ œœœ œœ œœ œœ œœ œ

67
œœ œœ œœ œœ œ œ œ œ
An inverted triad does not have the root as the lowest note. It is importantœ œ œ œ # œœ
j œj
to distinguish between root and bass. The root of a chord is the lowest note
? b Œ ‰ j ‰ œj Ó ‰ œj ‰ œj œ
when the notes are stacked in thirds. The bass is the lowest note, which might
œ Ó ‰ ‰ Ó ‰ j‰ j
œ œ œ #œ œ
be the root, third, or fifth.
œ œ œ œ œ
A triad is in “root position” when the root is the lowest note, “first inver-
sion” when the third of the chord is the lowest note, and “second inversion”
when the fifth of the chord is the lowest note.
#œ
ww ww ww
71 "root position" "first inversion" "second inversion"
& www ww w wG www

w w
? ∑
C E
w ∑ wE ∑
wG
wC
C Major Csus4 fifth of chord is lowest note Csus2
ww www ww
root of chord is lowest note third of chord is lowest note
(also Csus) (also Csus9)
& w &w
2
∑ "Slash" Chords Fifth ∑ ∑
77
&
&
6.3.1
Fifth
In lead–sheet notation, an inverted chord has the triad before the slash (/) and
Fifth
it. “ C/E ” means a C triad with Fourth
the bass note after Third an E as the lowest note. Second (or Nin
? ∑ it is possible toRoot ∑ Root ∑
Therefore, a slash chord has a bass note that is not the root of the chord. In
fact,
Root
4.have slash chords where the bass note is not one of the
chord tones (e.g., C F ).
slash
chord
C/E
bass note
Remember, in a slash chord, the first letter you see represents the root of
the chord. The letter after the slash is the lowest note (the bass).
Lead–Sheet Symbol Root of Chord Notes in the Chord Bass Note (Lowest Note)
F/A F F–A–C A
Dm/A
. 2 G D–F–A A
2 2 2
G◦ D G G–B –D D
. 4 4 4
C+ G C C–E–G G
6.4 Analyzing Chords

When a three–note chord is represented by four or more notes (some of which
are duplicates of the original three notes) and spread out across a grand staff,
phrases:
## c œ œ œ
Motives:
## c œ œ œ œ œ œ œœ œ œ œ œ œœ ˙
Motives:
œ œ ˙
38
œ œ
CHAPTER 6. TRIADS
œ œ ˙ œ œ œœ œ ˙
we can arrive at a lead–sheet symbol by answering three questions:
˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

1. What is the root of the chord?
# # c ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙˙
## c ˙˙ ˙˙ ˙˙ ˙˙
2. What is the quality of the chord (i.e., is the chord major, minor, dimin-
˙ ˙
ished, or augmented)?
3. What is the bass note (i.e., is the chord inverted)?
www
474
w
To determine the root of the chord, write all the notes only on the lines of the
ww
474
&
staff in treble clef (you may need to use ledger lines).
& w
w
? ww
? ∑
22
w ∑
Lead-sheet: ___ ___ ___ ___ ___ ___ ___ ___
Subphrases:
# 2 œJ œ œ(# œ)œ œ . œ œ . œ œ . œ œ œ œ
Motives:
j
476 401
(œ) œ œ œ
& 4
w___ ___ ___ ___ ___
J J
You could also choose to
( )write all the notes only on the spaces in a staff.
J ( ) œ # œ . (œ) œ .
w
476
& ___ Í
w ww
& w ww
Lead-sheet: ___ ___
Subphrases:
e: i iv i iio V i iv V
# 2 œJ (œ)œ(# œ)œ œ . œ œ .410œ #œ . œ œ œ œ

Motives:
j
& 4
?
J &J w
J (œ) œ œ œ
( ) œ # œ . (œ) œ .
Í
? w ∑
e: i iv i w iio V i iv
12 3
V ∑
The bottom note is the root when the chord is stacked as a triad. In this
410
# case, the root is D.
& Next, determine the quality of the triad (major, minor, diminished, or
augmented) by analyzing if there is a M3 or m3Dfrom the
F root to the 3rd, and
if there is a M3 or m3 from the 3rd to 5th.
12 3 1 2 34
D F F A
#
Since there
411is a m3 (3 half steps) from D to F and a M3 (4 half steps) from
&
F to A, the triad is minor.
Finally, determine if the chord is inverted by checking to see if a note other
than the root is the lowest note. Since the bass note (lowest note) is the root
D, the chord is not inverted. The chord is in root position, so the lead–sheet
symbol is Dm .
#
411 Now, try the process again.
&
35
6.5. SIMPLE “SUS” CHORDS 39
& w
478
bw
? w
F
22
___
w
Lead-sheet: ___ ___ ___ ___ ___ ___ ___
On scratch paper, stack the notes only
Subphrases: on lines in the treble clef to determine
the root.
& b www
# 2 œJ (œ)œ(# œ)œ œ . œ œ . œ œ . œ œ œ œ
411 Motives:
& j
401
& 4 J J (œ) œ œ œ
J ( ) œ # œ . (œ) œ .
Í
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
e: i
∑
iv i iio V i iv V
410
#
&
The root is E.
Analyze the quality of the triad by measuring from E to G and from G to
&
2
B.
12 3
B¯≤
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ D F
E G
35 1 2 34
It is an E diminished triad ( E◦ ).
Finally, determine if the chord is inverted. Is the root (E) the lowest note?
&
& w
478
F A
bw
bw
411
? ∑ ∑ ∑ ∑ ∑ ?& ∑ ww w ∑
w
Since the lowest note is G, the chord is inverted. Our lead–sheet symbol is
E◦ /G , which means we have an E◦ chord with a G in the bass.
&
&
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ 6.5
∑ Simple
∑ ∑ “Sus”
∑ ∑ Chords
∑ ∑ ∑ ∑
Common in popular music are “sus” chords, with “sus” being a shortening of
“suspended,” a term we will study in the chapter on non–chord tones.
& The two basic sus chords are the sus4 and sus2 chords. In the sus4 chord
(also labeled simply as “sus”), a perfect 4th replaces the 3rd of the chord. In
the sus2 chord (sometimes called “sus9”), a major 2nd replaces the 3rd of the
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
chord. Both of these sus chords have a perfect 5th from the root to the fifth.
&
5
C Major Csus4 Csus2
ww# www Third

& cw www
F #m
ww
59 (also Csus) (also Csus9)
w
222
Fifth # w
# www
A E D
Fourth # w # www (or Ninth)

& w Root & &
Fifth
w
Fifth
Second
?c w #w
Root Root
w w
Here is a musical example
#w
w with a sus4 chord. w
"Hard to Say I'm Sorry" Peter Cetera and David Foster 5
#### A/C # B/D # G #/B #

63
E
& A œ˙ œ œ œ œ˙E œ œ œ œ œ œ˙ œ œ œ œ œ˙ œD œ œ œ œ œ œ
3
F #m
c # www ˙ œ ˙w
59
#w ˙ w
&
? #### ˙ # ww # ww # ww
˙ œ œ # ˙
?c w w #w w
w w F #/A # #w w B
# # I'm Sorry"
# Say C #m
& # œE
B sus4
65
œ A/C #œ œ œ œ œ œ. œœ G #/Bœœ# ˙˙
"Hard to Peter Cetera and David Foster
#### ˙ œ œ ˙˙ B/D #
œ œ ˙
63
& œ˙ œ œ œ œ˙ œ œ œ œ œ œ˙ œ œ œ œ œ˙ œ œ
3
œ œ œœœ
? # # # # œ˙ nœœ ˙ ˙ ˙ ˙
? #### ˙ #˙
˙ œ œ #˙
F/A B bsus2 D/F #
####
G m C #m F #/A # C
b
Dm C/E F
&& œ œœ œ œ œ œœ œ œœ œœœ œœœ œœœ œœœ œœœ œœ œœ œ

B B sus4
65 67
œœFigure œœœ Cetera

œœ˙ œœ 6.5.1: œœ œœ and
œ˙œ Foster,
œœ œ œ“Hard œœ jI’mœœSorry”
œ . tojSay œ œ˙˙ # œœ
YT: PLtKoLkxDSQ
œ
? Œ ‰ j ‰ j Ó ‰ œj ‰ œj Ó ‰ œ ‰ œ Ó ‰˙ j ‰
˙ œ œ
b œ # œ œj
? # # #œ# œ œœ n œœ œ œ œ œ
œ #˙ ˙ ˙# œ
Here is a musical example with a sus2 chord.
F/A B bsus2 D/F #
& b œ œ"rootœposition"
Gm C Dm C/E F
œœ œœ
œœœ œœœ œœœ"firstœœ inversion" œœ œœ "second œ œœ œœ
œ œw œœ inversion"
67
œœ œœ œœ œœœ œ œ œ œ # œœœ
ww j œ j ww j ww Gj
71
&
? bwww Œ ‰ wwj ‰ œj Ó w E‰ œ ‰ œ wÓ ‰ œ ‰ œ Ó www‰ j ‰ j
Cœ œw œ œ #œ œ
œ œ œ œ œ #œ
? ∑ w ∑ wE ∑
wC wG
root of chord is lowest note third
YT:ofqi7Yh16dA0w
chord is lowest note fifth of chord is lowest note
ww ww ww
71 "root position"
Figure Bareilles,
6.5.2:"first “Love Song”"second inversion"
inversion"
& ww ww w wG ww
wC w E w w
? ∑ ∑ w ∑
We will not invert sus chords in this text. In a later chapter, we will discuss
w
more sophisticated sus chords like C9 sus andE Csus (29) .
wG
wC
root of chord is lowest note third of chord is lowest note fifth of chord is lowest note
& # w # # ww www ? b b bwwww w # ‹ www
& # w w ww
Ex. C ˜m
#w
____ 1. ____ 2. ____ 3. ____ 4. ____ 5. ____
& # # www # w
# # ww # www ? # # ww www b b www
248 13. ____ 14. ____ 15. ____ 16. ____ 17. ____ 18. ____
b
?
6.6 &
266
Practice Exercises
1. #Bm w ? 4.b wwwC˜
1. ____ 2. ____ 3. ____ 4. ____ 5. ____ 6. ____
b b www (M, m,b b b+www, ◦ ) usingblead-sheet

& # # wwthe triad types b5.wwsymbols. # ww and
254
3. A¯≤sus2
b w #
2. E+ Dsus4 6. Fº
1. Analyze
? # w
Sus2
HW & 7. ____
272
sus4 chords are also included.
# www b www ww
8
# # # wwwA b w w ? # w
wb w b # w
8. ____ 9. ____ 10. ____ 11. ____ 12. ____
#
& # w w # w www ? b b www # ‹ Bwww¯≤sus2
242
& # ww ww
260
1. Dm 2. 3. E ¯≤ sus4 4. G ¯≤+ 5. F ˜ º 6.
& Ex. C____ ? 3. ____ 4. ____

278
˜m 1. ____ 2. ____ 5. ____
13. ____ 14. ____ 15. ____ 16. ____ 17. ____ 18. ____
&
248
2. Write the specified triads and sus chords.
?
7. Fsus4 8. E 9. Gsus2 10. Dº 11. C˜m
12. A+
&
266
?
&
284
3. A¯≤sus2 4. C˜
& 13. Gmthe following
6 254 1. Bm 2. E+ 5. Dsus4 6. Fº
?
3. Analyze 14. D¯≤+inverted F˜
15.triads E¯≤m notation.
using16.slash 17. B 18. Cº
HW & b w ww
272
w
ww ? b www w
# # ww& bBwww
& b1. Dm
ww
79
HW &
290
w 6. Bw
&? 1. Dm/A w
3. E¯≤sus4 4. G¯≤+ 5. F˜º
w
¯≤sus2
260
w # w? 3. Fww˜/A˜ w 4. Em/B
2. A
w b ww
& bw
2. B¯≤º/D¯≤
w
278
w ? ?
294
& &
¯≤/B¯≤
Ex.7._____
EFsus4 8. E
1. _____ 9. Gsus2 3. _____ 10.4.Dº
2. _____ _____ 11. C˜m
5. _____ 6.12. A+
_____
& the specified inverted triads. ?

266
5. C˜m/E 6. Gº/D¯≤ 7. Dº/F 8. A/C˜
&
284
4. Write
ww∑ ?14. D¯≤∑+ ∑ ∑ ∑ ? ∑

86 298
PRAC
&& 13.bGm
w
B
15. F˜ &
16. E¯≤m
?
17. B 18. Cº
HW
EXER
& Ex. Fm/C∑ 1. ∑G/D ∑2. Bm/D ∑ ∑ ∑

272
&
290
3. D¯≤/F 4. Eº/B¯≤
5. Correct the misspelled triads. Label your corrected spelling with
lead–sheet notation. All of the examples are in root position (the low-
& Incorrect Correct Incorrect Correct Incorrect

278
296
92 est note is the root). 9
& ∑ ∑ b w ∑
b # ww∑ ∑ #Incorrect
b www ∑
303 Correct Correct
& # ww b ww # #ww w
?
& w w
302
& ∑ Ex. _____ ∑ ∑ ∑ ∑ ∑

284
Cm 1. ____ 2. ____ 3. ____

308
& here to download the homework.

311
&
Click
& here to download the Unit 1 Practice Test.
290
∑ ∑ ∑ ∑ ∑
98 Click
&
&
296
320
&? ∑ ∑ ∑ ∑ ∑
&
302
326 308
&& &∑ ∑ ∑
103
332 ? ∑ ∑ ∑
&
338
&
344
Chapter 7
Roman Numerals and Cadences
7.1 Roman Numeral Chord Symbols

Music is full of patterns that are similar from one piece to the next. As we
saw with minor scales, we were able to use scale degree numbers to show
the different patterns for harmonic, melodic, and natural minor, despite the
fact that there are 15 minor key signatures. Using numbers instead of note
names helps us see these patterns. Thinking of music in terms of numbers is
also helpful with transposition, which means moving melodies and/or chord
progressions from one key to another. Thinking of music in terms of numbers
also helps us to analyze it and to spot similar patterns between many different
pieces in different keys.
We will use Roman numerals to represent chords within a specified key.
The Roman numeral “ I ” represents a triad built on 1̂ , or the 1st note of the
scale. Uppercase Roman numerals represent major triads and lowercase Roman
numerals (e.g., “ i ”) represent minor triads. Uppercase Roman numerals with
a “ + ” are augmented (e.g., “ III+ ”), and lowercase Roman numerals with a
“ ◦ ” are diminished (e.g., “ vii◦ ”). (There is also the Nashville Number System,
which uses Arabic numbers for chords instead of Roman numerals.)
Key Lead–Sheet Root Scale Degree of Root Roman Numeral 15in Chord
Notes
G 230 Bm
4
B iii B–D–F
&
3̂
2 2
f G◦ G 2̂ ii◦ G–B –D
2 2 2 2
c E E 3̂ III E –G–B
For inversion of Roman numerals, we will use a modified “slash chord”
notation until we study Figured Bass later on. For now, we will write “ I /3rd”
if the 3rd of the I chord is the bass note, for example.
C: I/3rd G: ii/5th
the 3rd of the I chord the 5th of the ii chord

(C-E-G) is in the bass (A-C-E) is in the bass
The following table offers more examples.
Key Roman Num. Root Scale Deg. of Root Notes in Chord Bass Note
4 4
g V/3rd D 5̂ D–F –A F
a iv/5th D 4̂ D–F–A A
4 4
D vii◦ /3rd C 7̂ C –E–G E
43
14
44 C Major
CHAPTER Csus2
Csus4 NUMERALS
7. ROMAN AND CADENCES
w w ww w
(also Csus) (also Csus9)
& wChords in w & ww

222
& Major
Fifth Fifth Fifth
7.2 Diatonic Third
Root
Fourth
Root
Second (or Ninth)
Root
slash
chord
Observe the pattern of diatonic chords in major represented by Roman nu-
merals. (Diatonic means notes within a key signature and can be contrasted
C/E
with the term “chromatic.”) One sees the pattern M-m-m-M-M-m- ◦ in triad
bass note
quality.
Lead-sheet symbols
Csus2 w
www (also ww
C Dm Em F G Am Bº
ww www www ww w
225
14
&222 ww www
C Major Csus4
w www ww Fifth
(also Csus) Csus9)
& iiw & & w Root

Fifth Fifth
Third Fourth Second (or Ninth)
C: I Rootiii IV Root V vi viiº
Roman numerals
slash
(require key designation)
chord
C/E
226 bass note
& Lead-sheet symbols
www www ww
C Dm Em F G Am Bº
ww Chords www
www in Minor w
225
& Diatonic
7.3 ww w
w
240
& C: I ii iii IV V vi viiº
Because there are three versions of thenumerals

Roman minor scale, there are more than seven
(require
diatonic chords in minor. The sixthkey
anddesignation)
seventh scale degrees affect all of the
248
&
triads except the tonic, making 13 possible diatonic triads in minor.
NATURAL MINOR
www www www wwwG

226 Am Bº C Dm Em F
& w ww ww
ww w w
a: i iiº III iv v VI VII
rare
HARMONIC MINOR
www # www
G˜º
www # www
227
& ww # www
Am Bº C+ Dm E F
www
w
a: i iiº III+ iv V VI viiº
rare
MELODIC MINOR
# www # www
F˜º G˜º
# www # www
228
& ww # www
Am B C+ D E
# www
w
a: i ii III+ IV V ˜viº viiº
rare rare rare rare
Most Commonly
However, Used
when Chords
one (Roman
analyzes numerals)
a large in Minor
amount of tonal music, one finds the
following Roman numerals are most
from the commonly used
natural minor in minor.
scale
229
ww n www # www
G˜º
ww # www
Am Bº C Dm E F G
& ww www www w w
w
a: i iiº III iv V VI VII and viiº
# www # www
F˜º G˜º
& w # ww # www # www
Am B C+ D E
ww # ww w
w
7.4.
a: CADENCES
i ii III+ IV V ˜viº viiº 45
rare rare rare rare
Most Commonly Used Chords (Roman numerals) in Minor
from the natural minor scale
229
ww n www # www
G˜º
ww # www
Am Bº C Dm E F G
& ww www www w w
w
a: i iiº III iv V VI VII and viiº
from the harmonic minor scale

Notice that both VII (the “subtonic triad”) and vii◦ (the “leading–tone
triad”) are included. The subtonic triad ( VII ), built on the lowered 7̂ that
occurs in natural minor, regularly occurs in circle of fifth progressions in minor
and in rock and pop music, while the leading–tone triad ( vii◦ ), built on raised
7̂ , is usually either a passing harmony or has dominant function.
7.4 Cadences
We’ve been studying harmony—triads and chords. A cadence is a harmonic

arrival point, a harmonic moment of stasis. A cadence can be compared to
a comma or period in written language—the ear gets a moment to process a
short passage of music, then the music continues. We will differentiate between
four basic cadences now, adding more specificity in a later chapter.
1. Authentic Cadence (AC): a phrase ending with the chords V – I
2. Plagal Cadence (PC): a phrase ending with the chords IV – I
3. Deceptive Cadence (DC): a phrase ending with the chords V – vi
4. Half Cadence (HC): a phrase ending on the V chord

? # # # œœ .. œœ œœ œœ œœ ...
œ
œœ œœ
œ œ
œœ
œ
J J
46 ? ### j
œ. œ œ œ
CHAPTER 7. ROMAN NUMERALS AND CADENCES
w
œ .
7.4.1 Examples of Authentic w
Cadences
"The Star-Spangled Banner" Francis Scott Key and John Stafford Smith
B b/D F Bb B b/D G m C ø7/G b B b/F Bb
œ œ (œ ) ˙
F F7
b 3 œ. œ œ œ . (œ ) œ
&b 4 œ œ J ˙
5
J
j
œœ œœ ( œœ ) ˙˙
b 3 œœ .. œœ œœ œœœ ... ( œœœ ) œœ

&b 4 œ œ ˙˙
5
œ œ œ ˙ œ œ J œ ˙
? b 3 œ (œ ) œ . j ˙ œ bœ œ. j
b 4 œ œ
( ) œ.
œ œœ ( œœ ) ˙ œ bœ œ. œ œ ˙
œ ( ) œ œ ˙
B¯≤: V I/3rd V I I/3rd vi iiJ 7/5th I/5th V7 I
authentic
cadence
YT: LGvW6jHUHiY
Figure 7.4.1: Francis Scott Key and John Stafford Smith, “Star–Spangled
Banner”
In the example above, the notes surrounded by parentheses are non–chord

tones, which will be studied later. Also, there are seventh chords in this ex-
ample, which we will study in the next chapter.
Here is another example ending with an authentic cadence.
2 "I Want to Hold Your Hand" Lennon–McCartney
C# F# D #m C# F#
## # œœ œ œ . œ œ . œ œ œ œ Œ ‰ œJ œ œ œ
B B
V # # # 44 ‰ J œ œ Ó
10
œ ˙
# ## # 4
& # # 4 ‰ œj œ Œ œœ ‰ œj œ Œ ‰ œj œ Œ œ
I want to hold your hand, I want to hold your hand.
‰j Œ œ
10
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œœ
? # # # # # 44 j j j j j j
# œ. œ œ. œ œ. œ œ. œ œ œ œœœ œ
œ. œ œ. œ
F˜: IV V I vi IV V I
authentic
cadence
"Just Give Me a Reason" Pink, Jeff Bhasker, Nate Ruess
# 4 œ œ œ . œ œ œ YT:‰ jenWdylTtzs
G C Em
j œ œ œ œ œ Œ ≈ œ œ
œ œ œ“I Want
14
VFigure
4 R 7.4.2: Lennon–McCartney, to Hold Your Hand”
#
& 44 ≈
14 I let you see the parts of me that weren't all that pret - ty And with
j
œœ .. œœ œœ œ œ œ ˙˙˙ œœœ œ
? # 4 ≈ œ œ ˙ ˙
4 œ œ ˙˙
7.4. CADENCES 47
7.4.2 Examples of Plagal Cadences
Here are examples with plagal cadences.
Score
"Amazing Grace" Lyrics: John Newton, Harriet Beecher Stowe

Tune: "New Britain" (traditional)
# 3
G/B Em G/D G/D D7 G C G
& 4 œ ˙ œ œ ˙ œ ˙ ˙˙ .. ˙.
˙ œ ˙ œ ˙ ˙.
Was blind, but now I see.
The hour I first be - lieved.
And grace will lead me home.
œœ œ ˙˙
Than when we first be - gun. A - MEN.
?# 3 œ ˙˙ œœ ˙ ˙˙ .. ˙ ..
4 œ ˙ ˙
G: I/3rd vi I/5th I/5th V7 I IV I
#
plagal cadence
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
7
& Figure 7.4.3
?# ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
7
F˜: IV V IV I vi IV
authentic
48 CHAPTER 7. ROMAN NUMERALScadence
AND CADENCES
"Just Give Me a Reason" Pink, Jeff Bhasker, Nate Ruess
# 4
G C Em
j
V 4 œR œ œ . œ œ œ ‰ œ œ œ œ œ œ œ œ Œ ≈ œ œ
14
#
& 44 ≈
14 I let you see the parts of me that weren't all that pret - ty And with
j
œœ .. œœ œœ œ œ œ ˙˙˙ œœœ œ
? # 4 ≈ œ œ ˙ ˙
4 œ œ ˙˙
G: I IV vi
# œ.
C G
œ œ œ œ Œ
17
V J ( ) œ ( )
# j
17 ev - - - - 'ry touch you fixed them
& œœ .. œœ œœ
œ. œ œ œ œ
( ) ˙˙
?# w ˙˙
w
IV I
plagal cadence
YT: OpQFFLBMEPI
Figure 7.4.4: Pink, Bhasker, and Ruess, “Just Give Me a Reason”
3
7.4. CADENCES 49
"Take Me to Church" Andrew Hozier-Byrne
#
G C G C G Cm G
j œ
V 43 œ œ œ œ œ œ œ œ ‰ œ . œ œ œ œ œ ‰Œ œ œ œ . œ œ œ ≈Œ œ b œ œ . œ œ ‰Œ
19
#
& 43 ∑
A A - - - men , A - - - men, A - - - men.
19
˙˙ œœ ˙˙ œœ ˙˙ œ ˙˙
œ ˙ œ ˙ b œœ
? # 3 ∑ ˙˙ œ ˙˙ œ ˙˙
4 ˙ œ œ
G: I IV I IV I iv I
implied plagal cadences
3
"Voi che
"Take Mesapete"
to Church" Wolfgang Amadeus Mozart
Bb /E b PVjiKRfKpPI
BCb/F
Andrew Hozier-Byrne
#b 2 œ œ œœ 7.4.5:
CC mYT: F 7G CGmm
œ œ œœ œ œ œ œœ ‰Œ
G G G
V b 43 œFigure
œ j œœ.Hozer-Byrne, œœ œ œMe
. toœ œ œ ≈Œ œ b œ œ . Œœ œ ‰Œ
œœ œ œ œ œ ‰
19
&
24
“Take
œ . Church”
œ œ
‰ œj œœ œœ
3
#b 342 œ∑ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈
A
don - ne ve - Ade - - - te- men , s'ioA - -l'ho- men,
nel Acor,- - - men.
24 19
&
& b 4 œ œœ œ.˙ œ œœ œ. œœ œœ œœ œ. œœ˙˙ œœ œ. œœ œœ œ. œ˙˙ œœ œœ œœ
œ. . ˙ œ. . œ . . ˙. . œœœ. . œ˙. . . b œœ ˙˙
P
? # 3 ∑j ˙ j œ j j j j˙ œ œ œœ œœ ˙ œœ œœ œœ
4
? b bExamples œ
42 œ ‰ ˙œ of‰ Deceptive
œ ‰ œ ˙ Cadences‰ œœ ‰ œ ˙ ‰ œ
œ œ œ œ
˙
œ œ
7.4.3
G: I IV I IV I iv I
B¯≤: I ii/3rd implied plagal cadences vi
I/5th V 7
deceptive cadence
"Voi che sapete" Wolfgang Amadeus Mozart
Bb C m/E b B b/F
b œ œ œ œ œ œ œ œ
F7 Gm
& b 42 œ Œ
24
œ. œ œ
‰ œj œœ œœ
don - ne ve - de - te s'io l'ho nel cor,
b
& b 42 œ œ œœ œœ. ≈ œ œœ œœ. ≈ œœ œœ œœ. ≈ œœ œœ œœ.
24
≈ œ œœ ≈ œ œœ œ
œ . œ. . .. .. œœ œ. . œœ œ. .
P. . . œœ œ œœ
j j j j œ œ
œ œœ œ
? b b 42 œj ‰ œj ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
œ œ œ œ œ œ
B¯≤: I ii/3rd I/5th V7 vi
deceptive cadence
YT: 53geSxS8-Ak
Figure 7.4.6: Mozart, The Marriage of Figaro, “Voi che sapete”

4
50 CHAPTER 7. ROMAN NUMERALS AND CADENCES
"True Colors" Tom Kelly and Billy Steinberg
F/C C F/C C G sus A m7 G/B C F
4 Œ ‰ j Œ ∑
28
&4 j j œ œ .œ œ œ œ œ . j
œ. œ œ œ œ. œ œ œ œ œ
6
b ww col - ors,ww true col b-w ors are #beau w w œ œ

& b True # ww- ti-ful like aww rain - bow.b www
79
w w ww w
4
&4 . j j w œ œœ œ œ w
28
w
? b wœœ .. œ ˙ w œœ .. œ ˙w
œ œ ˙ œ . œ ˙ w
œ #ww w œ œw œ bœww œ œ œ œ
œ œ œ
w
œ
œ ˙ w œ ˙ w
?Ex.4 _____ j j j . j œ 6.. _____
4 E¯≤œ/B. ¯≤œ 1.˙ _____ œ . œ2. _____
˙ œ . œ5. œ_____
œ j
w
3. _____ 4. _____
œ ˙
& ww b ww b bb wwwcadence ww b wwIV
86
w
# # ww
C: IV/5th IIV/5th I Vsus vi 7 V/3rd I
w
deceptive
w
HW
? b wOut Loud" w bw w bw
w G Ewm7 wG
"Thinking Ed Sheeran and Amy Wadge
# 4 œ œ œ œ2. _____
œ œ œ œ 3.œ_____ œ œ œ œ œ5. œ_____
œ œ œ œ œ Œ4. _____
E m7 A Bm A
œ œœ ˙ ≈œ œ œ
V 1.b w#_____
33 YT: LPn0KFlbqX8
4 Figure 7.4.7: wKelly
b ww # www bw
92
Colors” 6. _____
#w
and Steinberg, “True
& w b b ww # ww
w
me I fall in lovewith you ev - 'ry sin-gle day I just want to tell you I am so hon-ey
#
& # 44 ˙ j
33
œœ œœ œœ wœœ .. œœ œœ œœ ˙˙ .. œ
˙˙ œ œ œ œ . œ œ œ ˙ . b w œœ œœœ œœœ œœœ œœœ œœœ
? bw # www #w
?The# # following
4 # w j w to Act Ib ofwwRichard Wagner’s
w opera
4 Isolde, j is arguablyœ œ the
œœœmost. famousj deceptive
œ œ œœœ
example, from the prelude
Tristan und .
œ œ œ œ œ .
one of œ œ œœ œ cadences in
the7.history
_____ of music.
8. _____ 9. _____ 10. _____ 11. _____ 12. _____
D: ii7 IV V vi ii7 IV V
Tristan und Isolde, Prelude to Act I. half cadence
Richard Wagner
j nœ #œ œ. œ
#œ #œ œ
E7 F
& 68 œ. œ ‰ ‰
98
#œ #œ œ nœ #œ J
S più f ƒ p
œœ ..
? 68 # œœ ‰ œ. n œœœ ... œœ . œ . œ
nœ
a: V7 VI
deceptive cadence
YT: ghjz6D34HPQ
Figure 7.4.8: Wagner, Tristan und Isolde, Prelude to Act I
A deceptive cadence means V did not go to I . This means that “ V to

not– I ” is technically a more correct description for a deceptive cadence than
V – vi , which is the most common realization of “ V to not– I .”
In the example below, V goes to IV/3rd .

Ave
7.4. Verum Corpus, K. 618 (textural reduction)
CADENCES Wolfgang Amadeus Mozart
51
#
& # C ˙˙ .. œœ
100
œœ œœ œœ œ œœ ˙˙ .. œœ œœ œœ œ
œ œ
˙˙ .. œœ œœ œœ œ œœ ˙˙ .. œœ
? # # C ˙w ˙ œ
## j
œœ œ œœ œœ
D/A A G/B
ww
104
& ˙˙ œ˙ . œ ˙˙ ˙
Ó 7
œœ œœ œ œœ ˙˙ . œ # œœ ˙. œ
? # œ
# Corpus, K. 618 (textural reduction) ˙˙ ÓMozart
Ave Verum ˙
Wolfgang Amadeus
##
C ˙. œœ œœ œœ
100
˙˙ ..
D: I/5th V IV/3rd
& ˙. œœ œœ œœ œœ œœ œœ œœcadence
deceptive
œœ œœj œœ œœ œœ ˙˙ ..
"Eine kleine Nachtmusic," K. 525 (reduction)
œœ
Wolfgang Amadeus Mozart
? # # C ˙wj ˙ j ˙˙ .. YT: j 1Qxrru15jfo

œ œ œ œ œ E m7 œ /Gœ œ œ œ #Aœ œ œ œ œ œ œ œ #Aœ
# c DœœFigure
œœ œœ œœ7.4.9:
œœ Mozart,
œœœ œœœœ œœœœAve
œœœ# œVerum œœ œœ K.œœ 618# œœ
œœœ # œœœCorpus,
œ œ œ œAœ œ œ œ œ G/Bœ œ œ œ œ Œ
108
& œ œ œ œ
œ œ
# j
& # ww œœ œ œœ œœ
104 D/A
˙˙ œ˙ . œ ˙˙ ˙
? # c œ œœœœœœœ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ Óœ œ
œ ˙. œœœœ Œ
œ
? # # œ œœ œœ œ ˙ œ # œœ ˙ . œ
˙ ˙˙ Ó
D: I
7.4.4 Examples ii7/3rd
of Half Cadences V V
D: I/5th V halfIV/3rd
cadence
(phrase ends on V)
deceptive cadence
"Eine kleine Nachtmusic," K. 525 (reduction) Wolfgang Amadeus Mozart
j D
j E m7j/G j A A
œœ œ œ œ œœ œ œ œ # œ œ œœ œ œ œ œœ œ #œ
# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ # œœœ œ œœ œ œœœ œ œœ œ # œœœ œ œ œ œ Œ
& c œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ
108
? # c œ œœœœœœœ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
œœœœ
D: I ii7/3rd V V
half cadence
(phrase ends on V)
YT: TpPuLwtDQrY
Figure 7.4.10: Mozart, Eine kleine Nachtmusik, K. 525, I.
w œ ˙
C: IV/5th I IV/5th I Vsus vi7 V/3rd I IV
deceptive cadence
52 CHAPTER 7. ROMAN NUMERALS AND CADENCES
"Thinking Out Loud" Ed Sheeran and Amy Wadge
# 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ ˙
E m7 G A Bm E m7 G A
V # 4 Œ ≈œ œ œ
33
me I fall in lovewith you ev - 'ry sin-gle day I just want to tell you I am so hon-ey
#
& # 44 ˙ j
33
˙˙ œœ œœ œœ œœ .. œœ œœ œœ ˙˙ .. œœ œœ œœ œœ œœ œœ
œ œ œ œ. œ œ œ ˙. œ œœœœœ
? ## 4 j
4 . j œ. œ œœœ j œœœœœ
œ œ œ œ œ œ. œ œ œœ
D: ii7 IV V vi ii7 IV V
half cadence
YT: lp-EO5I60KA
Figure 7.4.11: Sheeran and Wadge, “Thinking Out Loud”
You may encounter chords with no thirds in rock and pop music. If you
encounter a chord that has only a root and fifth, label it with a “5” after the
root in lead sheet labeling (e.g., B5 , as in the next example).
Additionally, you may encounter incomplete chords, which are chords

containing only the root and third but no fifth.
5

"Love Yourself" Justin Bieber, Benny Blanco, and Ed Sheeran
C #m
# 4
A E B5
V # 4 œJ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
37
#
& # 44 ‰ Œ
I've been so caught up in my job, did - n't see what's go - ing on And now I
∑ ∑
37
œœ .. œœ œ ˙ œœ ˙˙
? # # 44 ‰ Œ œ . œ ‰ œœ ˙˙ œœ .. œœ ‰ œ ˙
J œ. œ J
E: vi IV I V
C # m7
#
A B5
V # œJ ‰ Œ ‰ œ œ œ œ œ œ œ œ
40
œ œ œ
##
40 know, I'm bet - ter sleep - ing on my own 'Cause if you
& ∑ ∑
? ## œœ .. œœ œ œ œœ œœ œœ œœ œœ œœ œœ
œ . œ ‰ œœ œœ œ œ œ œ œ œ œ Œ
J
vi IV V
half cadence
"Every Breath You Take" Sting

____ ____ ____ ____
b b b 4 ‰ j œ œ (œ) j ‰ j œ œ (œ) (œ) ‰ œ (œ) ∑

YT: oyEuk8j8imI
b
V Figure œ œ J Bieber,œ Blanco,
4 7.4.12: œ œ J and Sheeran, œ œ œ
42
J J ( ) “Love Yourself”
Ev - ry smile you fake Ev - 'ry claim you stake I'll be watch-ing you.
bb 4 œ œ (œ) œ
Vbb 4 œ œ (œ) (œ ) œ œ ( )œ œ œ œ œ œ œ œ œ œ œ œœ œ
42
œ œ œ œ( )œ ( )œ( )
œ œ
( )
? bb 4
b b 4 œ œ œ œ œ œœœ
œ œ œ œ œ œ œ (œ ) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
A ¯≤: ____ ____ ____ ____
1 2 3 4
Cadence type: _______________
8 1. Label the following chords with lead sheet symbols (above) and Roman
numerals (below).
#### w # #w ## w b b b n ww ### w
112 Eº
Ex. _____ 1. _____ 2. _____ 3. _____ 4. _____ 5. _____
& b www w ww w w w
w
?b w # # # # ww # w ## w bbb
w ### w
w
iiº
Ex. d: _____ 1. E: _____ 2. e: _____ 3. b: _____ 4. c: _____ 5. A: _____
# b b b www b b www ### w b b b b ww ##

118 1. _____ 2. _____ 3. _____ 4. _____ 5. _____ 6. _____
& ww # ww ww
w
w nw
b w b w b b b b ww
ã 68 œ & œ wwœ œ . b b wwœ œ b œJw 68 # # www
379
# w
2. ww
n w CADENCES
œ œ# w
(œ ?
wœ œ œ b œ œ œ œ b œ wœ ) # (#œ œ œ œ œb bœ œw œ œ # œ wœ œ )
6 ˙ b b w œ b œ œ 68 # w b b #
54 CHAPTER 7. ROMAN NUMERALS AND
ã 8
381
3.
2. Given the Roman numeral and key, write the key signature, notate the
1. G: _____ 2. E ¯≤: _____ 3. B ¯≤: _____ 4. f ˜: _____ 5. f : _____ 6. D: _____
triad, and label the chord with a lead-sheet symbol (above).
124
#### w
˜m/A ###
b ww # # 2.w____ b b #3. ____
7. _____ 8. _____ 9. _____ 10. _____ 11. _____ 12. _____
? ?
Ex. F
_____ 1. ____
˜ & w ww ww ww
383
& ˜˜ ˜ w & ww
Ex. E: ii/3rd w 1. f: V w wwb¯≤:viiº
? # # # # wsymbols# # #above
w andb Romanw #
2. D: IV/5th w
# numerals
w b b #3.analyze
3. Label lead-sheet w
below and
? ?
387 1. ____ 2. ____ 3. ____ 4. ____
the type of cadence that ends the phrase.
& &
7. c ˜: _____ 8. A: _____ 9. d: _____ 10. D: _____ 11. g: _____ 12. e: _____
(a) “Columbia, the Gem of the Ocean” (YouTube)
1. g: III 2. A: vi 3. A¯≤: ii iiº
"Columbia, the Gem of the Ocean" David4.T.b:Shaw
# Œ 7. ____œ œ
_____ _____ _____ _____ _____ _____
.
Lead-sheet symbols:
? œ œ ? œ
130
& c œ œ
5. ____ 6. ____ 8. ____
œ ˙˙& œ œ ˙˙˙ œœœ
œ œ œ˙˙&œ . œ ˙˙ ˙˙ œ œ ˙˙ œ œ œ˙˙
391
5. e: viiº/3rd 7. C˜: IV
?# c Œ
6. d: VII 8. G: I/5th
œ œ œ œ œ œ œ œ œ œ œ œ
395
? œ œ œ
Roman numerals: G: _____ _____ _____ _____ _____ _____
1 2 3 4 5 6
Cadence type: _______________
?
402 (b) “Could You Be Loved” (YouTube)
6
"Could You Be Loved" Bob Marley
# 4 œ (œ) œ œ ˙ ‰ œ ( œ) (œ)
____ ____ ____ ____
(œ ) œ.
46
V # 4 Ó Ó Ó J Ó
#
Could you be loved and be loved?
j j j j
& # 44 ‰ œœj‰ œœj‰ œœj ‰ œœj ‰ œœj‰ œœj ‰ œœj‰ œœj ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœj ‰ œœj‰œœj‰ œœj
46
? # # 44 œœ‰ ‰ .œœ œ ‰ ‰ . r œœ ‰ ‰ . œr œœ ‰ Œ œœ ‰ ‰ . œœœ ‰ ‰ . œ œœ ≈ œ ≈ œ œ
R œ R R ( ) œ( ) œ
____ ____ ____ ____
1 2 3 4
Cadence type: _______________

"Blowin' in the Wind" Bob Dylan
____ ____ ____ ____ ____ ____ ____
j
V b 44 œ œ . œ œ(œ .) œ ‰ œj œ œ œ œ (œ ) œ œ ‰œj œ . œ œ(œ ) œ œ œ œ œ œ ˙ Œ‰
50
( )( ) ( )
The an - swer my friend, is blow-in' in the wind, the an - swer is blow-in in the wind.
& b 44 ‰ œ œ œ œ œ . œ œ œ œ œ . œ œ œ œ œ . œ œ œ œ œ . œœ œ œ œ . œ œ œ œ œ .
50
œ œ œ œ . œœ ..
œ œ.
? b 44 ‰ ‰ j ‰ j ‰j œ ‰ j
œ œ œ œ (œ ) œ œ œ œœ œ œ œ.
œ
____ ____ ____ ____ ____ ____ ____
1 2 3 4 5 6 7
Cadence type: _______________
"Stand by Me" Ben E. King, Jerry Leiber, Mike Stoller
## 4 j j œ œ œ œ œ (œ)(œ)
Lead-sheet symbols: ____ ____ ____
V # 4 œ œ œ œ œ Œ ‰(œJ) (œ) (œ) œ( ) Œ ‰(œJ) (œ) (œ ) œ œ . Œ ‰ J ( )

55
## 4
Just as long as you stand stand by me. and dar - lin' dar - lin'
ww ww ww ww
& # 4 ‰Œ
55
w w w w
? ### 4 ‰ œ œ œ ‰ œ Œ œ œ
4 œ ‰œ Œ œ œ œ ‰ œJ Œ œ œ œ ‰ œJ Œ œ œ
J J
Chapter 8
15
Seventh Chords 230
&
8.1 Introduction to Seventh Chords

C: I/3rd G: ii/5th
A seventh chord adds to a triad another note a third higher than the fifth.
Chords, being the
built3rd of the Ihave
in thirds, chord the numbers—third,
members that are odd 5th of the ii chord
fifth,
(C-E-G)
seventh, and we is in the discuss
will eventually bass extensions of(A-C-E)
the ninth,
is eleventh,
in the bassand
thirteenth. The fifteenth would be the double octave, so chords only extend as
high as the thirteenth.
root third fifth seventh ninth eleventh thirteenth 15

Rt 3rd 5th 7th 9th
w
11th
w
13th
w
230
& w
231
& w w w
(this is for later)
In classical and popular music, there are five types of seventh chords com-
232 C: I/3rd G: ii/5th
&
monly encountered:
the 3rd
• the major seventh of the I chord
chord the 5th of the ii chord
(C-E-G) is in the bass (A-C-E) is in the bass
• the major-minor seventh chord (also known as a dominant seventh chord)
• the minor seventh chord

root third fifth seventh ninth eleventh thirteenth
• the half-diminished seventh chord 7th
Rt 3rd 5th
w w 9th 11th 13th
w w
231
the& w chord (often called diminished seventh chord)

w seventh
•
w
fully-diminished
(this is for later)
Full name: major seventh major-minor seventh minor seventh half-diminished seventh fully-diminished seventh
m7( b5), -7(-5), dm7

Primary abbrev: maj7 7 m7 ø7 º7
Other labels: Maj7, Δ7, MM7 Mm7, Dom7 -7, mm7 dim7, dd7
ww b ww bw b b b wwww b b ∫ wwww
232
& ww ww b www
M M7 M m7 m m7 º m7 º
triad
º7
triad triad triad triad
237 Lead-sheet symbols: Cmaj7 C7 Cm7

Figure 8.1.1 Cø7 Co7
& www b www

b b www b b b www b b ∫ www
Another way w w between wthe m3five types wof seventh w ism3 by
M3 m3 m3 M3 m3
m3 m3 M3 m3 m3
to differentiate
M3 M3 m3 chords
learning how the thirds are stacked in each one.
242
&
55
m7( b5), -7(-5), dm7
º
www b www b bCHAPTER

www b b b wwww b b ∫ wwww
232
& w w w m7
56 M M7 M m7 m º
8. SEVENTHm7 CHORDS 7 º º
triad triad triad triad triad
237 Lead-sheet symbols: Cmaj7 C7 Cm7 Cø7 Co7
& www b www b b wwww b b b wwww b b ∫ wwww

w w
M3 m3 m3 M3 m3
m3 m3 M3 m3 m3
M3 M3 m3 m3 m3
In later chapters we will discuss other seventh chords built on augmented

242 triads and minor triads.
&
8.2 The IV/5 “sus” chord
An additional four-note chord that sounds like and functions similar to a V7

16 chord is the IV /5̂ (or F/G in C major) chord. In popular music this chord
often is substituted for the V7 chord
244 F/G or G9sus4 a variant: Dm7/G or G9sus4
w
w
& w major www www www
ww ww
F
sus4
w basstriad w
9th
7th
note is G Root
2
Here is a musical example with the IV /5̂ chord in A major.
248
&
8.3. ROMAN NUMERALS OF DIATONIC SEVENTH CHORDS 57
7
±
"O-o-h Child" Stan Vincent
Db A b 7/C B b m7 D b/E b
b œ œ œ.
V b b b 44 Œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ
60
bb 4
Some - day yeah we'll put it to - geth - er and we'll get it un - done
&bb 4 Œ œœœ ˙˙˙ ˙˙˙

Horns
˙˙˙
60
? b b 4 œ œ œ. œ œ œ œ. œ œ œ œ ≈ œ œ
Bass
bb 4 œ œ œ
Db A b 7/C± B b m7 D b/E b 15
b œ œ œ
V b bb Œ
62
œ œ œ œ œ œœœœœ œ Œ
230
&
bb
Some - day when your head is much light - ter
&bb Œ œœ ˙˙˙ ˙˙ ‰ œœ œœ ≈ œœ œœ
62
œ ˙ œœ œœ
C: I/3rd G: ii/5th
? b b b œ œtheœ3rdœofœ the j
b œ . I chord œ œ œ œ theœ .5thœ œofœthe‰ii chord
œ
(C-E-G) is in the bassœ (A-C-E) is in the bass
b
V b b b ∑ ∑ root ∑ ∑ ∑ fifth ∑ seventh
∑ ∑ ninth∑ eleventh
∑ ∑ thirteenth
∑
64
YT: gIsj8VxQNkw
third
w w
Rt 3rd Figure 8.2.1:
5th Vincent,
7th “O–o–h
9th Child” 11th 13th
w w
231
b &∑ w ∑ ∑ w ∑
& b b b ∑ w∑ ∑ ∑ ∑ ∑ ∑ ∑
64
(this is for later)

8.3 Roman Numerals of Diatonic Seventh Chords
? b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Full name: major seventh major-minor seventh minor seventh half-diminished seventh fully-diminished seventh
b m7( b5), -7(-5), dm7

When notating
Primary abbrev: maj7 seventh7 chords
with m7Roman numerals, ø7 there are a fewº7con-
ventions to follow. An uppercase Roman numeral means a major triad and
ww b ww bw b b b wwww b b ∫ wwww
232
& ww ww b www
a lowercase Roman numeral means a minor triad. Adding “7” after a Roman
numeral means there is a minor seventh between the root and seventh of the
M Therefore,
M7 m m7 withºa minor seventh º between the
chord. VM7 meansm7 a major triad m7 º7
triad triad triad triad triad
root and seventh and vi means a minor triad and a minor seventh between
7
the root and seventh. Add “M7” for am7major seventh chord (e.g., IM7 ). o7The
237 Lead-sheet symbols: Cmaj7 C7 ø7 C Cø7 C
www b www b b wwww b b b wwww b b ∫ wwww
half-diminished symbol ( ) means there is a diminished triad with a minor
&
means the triad
m3
w
seventh fromM3root to seventh.
is
m3
diminished
The diminished
w
m3
m3 and the distance
M3
symbol ( ◦7 ) on
from the
M3
root
a seventh chordm3
m3 to seventh is am3
M3 M3 m3 m3 m3
diminished seventh.
Below are the diatonic seventh chords used in major and minor and their
www www www www

Roman numerals.
& wwww www www w w

242
w w w w
C: IM7 ii7 iii7 IVM7 V7 vi7 viiø7
www w
www www www # wwww # www
243
& www w w w
w w
a: i7 iiø7 IIIM7 iv7 V7 VIM7 viio7
ww ww ww2. ____ www ww
& www ˜ ˜ wwww ?ww ww w ?
Ex. D /C
w& ˜ ˜
383 _____ 1. ____ 3. ____
&
C:
58 IM7 ii7 iii7 IVM7 V7 8. SEVENTH
CHAPTER vi7 viiø7
CHORDS
Ex. E: ii/3rd 1. f: V 2. D: IV/5th 3. b¯≤:viiº
w ww ? # www www www

www
243
& ww? &www #w

1. ____ 2. ____ 3. ____ 4. ____
ww w w&
387
ww w
1. g: III 2. A: vi 3. A¯≤: ii 4. b: iiº
a: i7 iiø7 IIIM7 iv7 V7 VIM7 viio7
? ?
244 391 5. ____ 6. ____ 7. ____ 8. ____
& & &

9
12 8.4 Practice Exercises

Menuet, BWV Anh. 116 J.S. Bach
1. Analyzew # 3 œ œ withœ œlead–sheet

w
_____7. C˜: œIV_____
œ œ œ Roman
www& 4 œb œ www œ # # ww œ #œ# # # wœ œ
5. e: viiº_____ _____
/3rd_____ _____ 6._____
d: VII _____
__________ 8. G: I/5th
# # below.
_____ _____
œ ww b bœ ww œ nu-
135
the given chords symbols above and
b b w w ww b ww
401
&
merals
w ww
b _____ 2. E¯≤b: _____ 3.#e: _____ w 4.# E:# _____ 5.#d: _____
ø7/C
& b b ?www# 43 ˙b # wwww œ # œ wwwœ œ œ œ# œ# ˙wwww

D
œ www œ œ b œ #œwwwwœ œ
395 _____ _____ _____ _____ _____ _____
1. b: 6. B¯≤: _____
w_____ w_____
w
407
?Ex.bE¯≤b:____ w # w # # w w w _____ # ww
b b viin www/ 7th 1.1 g:#_____www 22. D:# _____ ww 3.b bc˜: _____
ww4 4.b bG:b _____
_____ _____ _____ _____
3 w n5 ww 6 5. d: _____ w
2. Given the Roman numeral, provide the notes of the chord andw the
_____ _____
w
ø7 _____ _____ _____
# œ œ œ œ œ9. f˜œ: _____œ œ10. g:œ _____

lead–sheet symbol
_____ above.
œ
_____ _____ _____ _____ _____
œ œ (œ) ˙ .
7. f: _____ 8. D: _____ 11. c: _____ 12. G: _____
&7/D
139
### ####
( )
# ##
bb bbb
maj
G_____ _____ _____ _____ _____ _____
413
& #
?# œ œ œ œ œ œ œ (œ ) œ œ ( œ ) œ
Ex. e: III M7
/5th 7 1. A: ii
œ2. g: iiø7 œ 3. D: viiœ ø7 4. c: V7 5. B: IVM7/3rd
3. Analyze the harmonies in the excerpts with lead–sheet symbols above and
### ## #
_____ _____ _____ _____ _____ _____
bb bbb
Roman_____
numerals _____
below. _____ _____ _____ _____
b b b (YouTube)
419 7 8 9 10 11 12
&(a) “No Scrubs” Cadence type: _______________
"No Scrubs" Kevin Briggs, Kandi Burruss,

1. a: iv7 2. D¯≤: iii7 3. f˜: viio7 4. D: vi7 c: iv7/3rd
5.Tameka Cottle,6.Lisa M7
G: ILopes
bb 4
? b b b& b b b b b b4b
143 Lead-sheet symbols: _____ _____ _____ _____
œ œ# #œ œ
_____ _____ _____ _____ _____ _____
b œœ # œ œ œ bœ
b œ bœ œ œ
425
b nœ œ
? b b b b b b b 44 œ
8. A¯≤: ii7 9. b: viio7/5th 10. B¯≤: viiø7 11. e: iiø7/3rd
œ œ
7. f: V7 12. F: IVM7
œ
?b
431
Roman numerals: a¯≤: _____ _____ _____ _____
1 2 3 4
b (b) Mozart,
& b b b b b b ∑ Piano
∑ ∑ Piano∑ ∑Sonata
∑ K.
∑ 545,
∑ I∑(YouTube)
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
145
10 Sonata K. 545, I Wolfgang Amadeus Mozart
? b b b b ∑ &∑ 44 ∑ ˙ ∑ œ∑ œ ∑ œ∑. ˙ œ œ œ Ÿ

_____ _____ _____ _____ _____ _____ _____
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145 Allegro
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C: _____ _____ _____ _____ _____ _____ _____
1 2 3 4 5 6 7
Cadence type: _______________
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149
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& ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
153
Chapter 9
Harmonic Progression and Har-

monic Function
In this chapter we will look at common harmonic progressions and examine

the principle of harmonic function that underlies progressions.
9.1 The Circle of Fifths Progression
The circle of fifths progression ( I – IV – vii◦ – iii – vi – ii – V – I ) was a stalwart of

the Baroque era in music. You will find many examples of this progression in
the music of Bach, Handel, and Vivaldi, especially in minor ( i – iv – VII – III – VI – ii◦ – V – i )
with the subtonic VII .
59
60CHAPTER 9. HARMONIC PROGRESSION AND HARMONIC FUNCTION11
Dm Gm7 C7
˙ ‰ œ œ œ ˙ œ
œ œ œ ˙ œ
œ œ
&b C œ œœœ œœœ œ œ ‰
157
? C œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ 11
d: i iv7 VII7
Dm Gm7 C7
‰ œ œ œ ˙ œ œ œ œ˙ œ œ œ j
B¯≤maj7
˙
Fmaj7 Eø7 A7 Dm
& bb C˙œ œœ œœœ œœ œœ˙ œ œœ œœ œœ ‰˙œ n œ ‰ œ œ # œœ . œ œ œ œœ œ œ

157
159
& J
? C œ œ œœœ œœ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œj
d: i iv7 VII7
IIIM7 VIM7 iiø7 V7 i
Fmaj7 B¯≤maj7 Eø7 A7
∑œ ∑ ˙œ ∑ ∑ œ∑ ∑ œ∑ œ∑ œ ∑œ ∑œœ œ∑ œ∑j

Dm
∑œ dHrvGOd6G20
& b ∑ ∑ ∑ ∑ b∑ ˙œ∑ œ∑ œ∑ œ∑ œ˙∑ œ∑ YT:
162
œ #œ.
159
& nœ J
Figure 9.1.1: J.S. Bach, Brandenburg Concerto No. 2 in F Major, BWV
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ∑ œ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1047, I.
? œœœœ œ œ œœœœœ
b œœœœœœœœ œœœ œœœœœœœœ j
œ
IIIM7 VIM7 iiø7 V7 i
Gm Cm/E¯≤ F B¯≤ E¯≤ Ao/C D Gm
b . œ œ. œ . œ
& b 44 œœ . œ œœ .. œœ œ . œ œœ . œ œœ .. œœ œœ . œœ œœ .. œœ œœ .. œœ œœ . œœ # œœ . œœ œœ .. œœ œœ . œœ # œœ . œœ œ . œœ œœ œ œ ..
162
. . . . . nœ.
f
˙ ˙˙ ˙˙˙
? b b 44 ˙˙ ˙
˙˙
˙˙
˙˙˙ ˙˙
˙ œ ..
œ ˙
g: i iv/3rd VII III VI iio/3rd V i
b
& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ YT:
∑ f6jvsEb-Usk
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
166
Figure 9.1.2: Handel, Suite in G minor, Passacaglia
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b
This circle (the circle of fifths for harmonic progression) is different than
the circle of fifths for key signatures because this circle of fifths for harmonic
progression contains diatonic notes only. (The circle of fifths for key signatures
(Figure 2.3.4) contained all 12 notes of the chromatic scale.)
f
˙ ˙˙ ˙˙˙
? b b 44 ˙˙ ˙
˙˙
˙˙
˙˙
˙ ˙˙
˙ œ ..
9.1. THE CIRCLE OF FIFTHS PROGRESSION œ ˙ 61
Major
I
V i IV
V minor iv
ii iiº VII viiº

VI III
vi iii
Figure 9.1.3: Circle of Fifths for Harmonic Progression
The circle of fifths (for harmonic progression) is sometimes known as the

“circle of descending fifths.”
12
œ
descending fifths
œ
166
& œ œ
begins on C
? œ
œ œ œ
ends on C
Figure 9.1.4: Circle of descending fifths occurring diatonically on the staff

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
168
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
The circle of fifths progression has been used regularly since the Baroque
era.
? œ œ
œ
62CHAPTER 9. HARMONIC PROGRESSION AND HARMONIC FUNCTION œ
ends on C
Fõ/A
œ œœœ œ œœ
G/B C Bm
œ
œ ≈ œ œ ≈ # œ œ ≈ œ œ œ
168
& ≈
& ≈ œ œ œ ≈ œ œ œ ≈ #œ œ ≈ œ œ
œ œ œœ œœ
G: I/3rd IV viio/3rd iii
D/F˜
œ œœ œ œ œœ œ
170 Em/G Am G
≈ œœ ≈ œ œ œ ≈ œ ≈ œ œ
&
& ≈ œ œ ≈ œ ≈ #œ ≈ œ
œœ œœœ #œ œœ œœ
œ
vi/3rd ii V/3rd I
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ YT: 5NkzTTkqTB4

∑ ∑ ∑ ∑ ∑ ∑ ∑
172
Figure 9.1.5: Mozart, Piano Sonata in C, K. 545, I (1780s)
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ œ œ
B¯≤maj7 E¯≤maj7
œ ˙
Cm7 F7 Aø7 D7
? b b J J J œJ ˙ Œ ˙ Œ œ œJ
68
J
œœ. œ. œ. œ. œœ. œ. œ. œ. œœ. œ. œ. œ. # ˙
Hal - la - hal - lo - he! O - ho! Tra - la - lei!
b œœ œ œ œ ˙˙˙˙ œœ œ ˙
œ œ ˙˙˙ œœ œ œ ˙˙
68
& b œ #˙
f
? bb ˙ œœœœ ˙ œœœœ ˙ œœœœ
˙ œ. œ. œ œ œ. œ. œ œ ˙ œ. œ. œ œ
. . ˙ . . . .
g: iv7 VII7 IIIMA7 VIMA7 iiø7 V 7
? bb ∑ ∑ ∑ ∑ ∑
71
YT: PiIblkOtm3g
Figure 9.1.6: Wagner, Die Meistersinger, Act II, Scene 6 (1860s)
b
&b ∑ ∑ ∑ ∑ ∑
71
? bb ∑ ∑ ∑ ∑ ∑
& www major www www
w
www
w
F
sus4
w basstriad w w w
9th
7th
note is G Root
9.1. THE CIRCLE OF FIFTHS PROGRESSION 63
? 44
Am7 Dm7 G7 Cmaj7 Fmaj7 Bø7 E7 Am7
w w
248
w w orw w
16
244 F/G or G9sus4 w a variant:Dm7/G w
G9sus4
& a:www i major iv wwwVIIsus4 IIIMA7 wVIMA7 iiø7

ww wwwV7
w GRoot Cmaj wwFmaj7 Bø7 ww7sus4 E7
7 F 7 7 i7
w bass
9th
w
triad 7th
? 44 w
Am 7 Dm7 7 7 E
w YT:wK8wE58PTIkw
w w
256
w
note is G
w
? 44
DmHoward,
Am7 9.1.7: 7 G7 “Fly Cmaj
Me to7 the Moon”
Fmaj7 ø7
B(chords only)
E77 (1950s)
Am7
w
Figure
w
248
a: i7 iv7 VII7 IIIMA7 VIMA7 iiø7 V sus4 V7
w w w w
16
w w
?
264 244 F/G or G9sus4 a variant:Dm7/G or G9sus4
& www major www sus4 www www

a: i7 F iv7 VII7 IIIMA7 VIMA7 iiø7 V7 i7
w bass w wRoot
9th
wwFmaj7 Bø7 ww7sus4 E7
? 44 w
Am 7 Dm7 7
G7th Cmaj7 E
w w
triad
wG w
256
w w
note is
?248
270
? 44
ø7
i7 7
a: Am Dm
iv 7 7 G77
VII MA77
Cmaj
III Fmaj
VI 7
MA7 iiBø7 V77sus4 Am
E V7 7
w w w w w w
?
264
w w
a: i7 iv7 VII7 YT:IIIFHhZPp08s74
MA7 VIMA7 iiø7 V7 i7
?256
278
w
Perren and
G7 Fekaris,
Cmaj“I7 Will Survive”
Bø7(chords
E7only)
sus4 (1970s)
? 44 w
7
Am9.1.8: Dm 7 Fmaj 7 E7
w w
Figure
w w w w
?
270
a: i7 iv7 VII7 IIIMA7 VIMA7 iiø7 V7sus4 V7

?
286
C˜m F˜m
? #### 4 ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
264
B E
4 j j j j j j j j j j j j j j j j
? œ œ œ œ œ œ œ œ œ œ œ œ
278
œ œ œ œ
? c˜: i
294
iv VII III
D˜ø7 G ˜7 C˜m
? # # # # ‰ j‰ j‰ j‰ j ‰ j‰ j‰ j‰ j ‰ j‰ j‰ j‰ j ‰ j‰ j‰ j‰ j
268 A
?
286
? ####
272
VI iiø7 V7 i
?
294
YT: EgT_us6AsDg
Figure 9.1.9: Armato and James, I “Love You Like A Love Song” (2010s)
? ####
284
(bass and chords only)
The circle of fifths progression has a feeling of inevitability about it because
? ####
292 it consists of harmonic sequences. To understand harmonic sequence we will
first look at melodic sequences, since the bass line is the “melody” in a harmonic
sequence. Ask yourself what happens after this melodic idea:
# # ‰ j‰œ j‰œ j‰œ j œ‰ j‰ j‰ j‰ j ‰ j‰œ j‰œ j‰œ j œ‰ j‰ j‰ j‰ j
VII7 œ IIIœMA7œ œVIMA7 iiø7 œœ 4 œœV7œœ œ
œ 7sus
œ ˜œm œ œ B AND HARMONIC
a: i7 iv7 V
c˜: i iv VII III
64CHAPTERC9.˜mHARMONICFPROGRESSION
#
264
?# A
E FUNCTION
? # #b## ## 2c‰ ‰‰ j‰‰ j‰‰ j‰ ‰j U‰‰ j‰‰ j‰‰ j‰ ‰j ‰‰ j‰‰ j‰‰ j‰ ‰j ‰‰ j‰‰ j‰‰ j‰ j
ø7 7
268 272
VI D˜
ii ø7 G˜
V 7 C˜m
i
& b b 4 ‰j œœj œœj œ œj œ j˙ œ j œ j œ j œ j œ?j œ j œ j œ œj œœj œ?œj œœj œ

œ œ œ œ iv
c˜: i ƒ œ œ œ œ œVIIœ œ œ III
iiø7ø7 V7
D˜ G˜7 No. 5, Op. C67,
˜m I.
VI i
? b#bb# #C#2 Ó‰ j‰ Œj‰œ œj‰œ jœ ‰œœUj‰œ œj‰œ jœ‰ Œj ‰œ œj‰œ jœ‰œ œj‰ œ jœ ‰œ j‰œ j‰ Œ j‰ j
268 272 A
Figure 9.1.10: Beethoven, Symphony
b b 4 ‰ a sequence
276
&Therefore,
& œ œ œ is a˙ musical idea repeated œ œ œ œ
?
Sequencesœ can œ pbeœ short
œ orœlong.
? level.
œ œ œlookœ at œthis familiar idea and
? at a different pitch
ƒ œ Forœ example,
notice how all four bars are sequenced down a step in the following four bars.
VI iiø7 V7 i
b œ œœ œ œœ
bb œ œ œ œ œœUœ œ œ œ œœ œ œ Œ
&b
272
& bb bC 42Ó ‰ Œœ œ œ ˙
281
Œ
276
& ? ? ?
p
ƒ
Figure 9.1.11: Mozart, Symphony No. 40, I.
b œ œœ œ œœ
&b b b Clook Œ œatœ the œ œ œlineœ œin “Iœ LoveŒ You Like A Love
œ bass œ œSong”
œ œ and
281
Ó again œ Œ notice
276
&Now ?
p
how it can be thought of a two-note idea treated as a descending sequence.
↓2nd ↓2nd ↓2nd
? #### ˙ œ ˙ œ ˙ œ ˙
281
œ
↓5th ↓5th ↓5th ↓5th
Figure 9.1.12: “I Love You Like A Love Song” bass line sequence in groups
of two notes
Sometimes we will hear a circle of fifths sequence where some of the chords
are not in root position, as in the Handel and Mozart examples. In these two
examples, we are hearing the sequence of the roots, even though they are not
clearly presented in the bass.
17
œ
Cm/E¯≤ B¯≤ E¯≤
œœ̇
? b b œ̇ œœ̇
Gm F Ao/C D Gm
# œœ̇
282
œ̇œ œœ̇ œ̇œ œœ̇

? bb
283
YT: f6jvsEb-Usk
Figure 9.1.13: Handel Passacaglia with roots as open note heads
We will return to the idea of harmonic sequence later in this chapter.
9.2 Harmonic Rhythm

You will find that all of the progressions we discuss can have different harmonic
rhythm. Harmonic rhythm is a term for how long each chord lasts. For ex-
9.3. SHORTER PROGRESSIONS FROM THE CIRCLE OF FIFTHS 65
ample, in “Fly Me To The Moon” (Figure 9.1.7), “I Will Survive” (Figure 9.1.8),
17
and “I Love You Like A Love Song” (Figure 9.1.9), each chord lasts for four
œ
¯≤ ¯≤ ¯≤
œœ̇
? b b œ̇ œœ̇
Gm Cm/E F B E A o/C D Gm
# œœ̇
282
beats and has whole-note harmonic rhythm. In the Mozart (Figure 9.1.5) and
œ̇œ œœ̇
Wagner examples (Figure 9.1.6), on the other hand, each chord lasted for two
beats, and so had a faster harmonic rhythm. œ̇œ œœ̇
Listen to the following example to hear four-beat harmonic rhythm change
g: i harmonic
to two-beat iv/3rd rhythm.
VII III VI iio/3rd V i
? # # # 44 w w w ˙ ˙ w ˙ ˙ w
283
w
A: IV I vi V IV I V IV I V
whole-note harmonic rhythm half-note harmonic rhythm
? ###
291
YT: F90Cw4l-8NY
Figure 9.2.1: Bastille, “Pompeii”
In some music, harmonic rhythm will remain consistent, while in other

pieces there will be an infinite variety to the length of harmonies. Through-
out this text, we will be examining harmonic rhythm and the placement of
harmonies within the phrase.
9.3 Shorter Progressions from the Circle of Fifths
9.3.1 II-V-I
The “ ii – V – I ” progression can be found in many pieces of music in all styles—classical,
popular, but especially jazz, since the Great American Songbook (popular
songs from the 1930s, 40’s, and 50’s) on which jazz repertoire is built contains
many examples of this progression. 13
Dm7 G9 C6
& 44 w œ #œ œ œ œ bœ œ œ œ
175
œ ˙.
w
? 44 www www wwww
w
C: ii7 V9 I
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
178
& YT: MENQyu4D7Ig
Figure 9.3.1: Ellington, “Take the ‘A’ Train”
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
www wwww
? 44 w www
w
66CHAPTER 9. HARMONIC PROGRESSION AND HARMONIC FUNCTION
C: ii7 V9 I
# 4
Em7 A7 Dmaj7
& # Cm
178
4 7˙ . F7 œ b˙ En¯≤˙ a w D7
8
œ œ œ
B¯≤maj7
œ ˙
maj7 Aø7
? b b J Jwww J œJ ˙ Œ ww ˙ Œ wwœJ œJ
68
? # # 44 w w
w
œœ. œ. œ. œ. ˙ .œ Vœ.7 œ. . œœ. œ. œ. œ. # ˙
Hal - la - hal - lo - he! O - ho! Tra - la - lei!
b œœ œ œ œ ˙˙˙ œœœ œ
œ œ œ ˙˙˙˙
D: ii7 IMA7
œœ œ œ ˙˙
68
# &b œ #˙
& # ∑ ∑ ∑ ∑ ∑
181
f YT: sUg1Dpsd6fw
? bb ˙ œ Figure
œ œ œ 9.3.2:
˙ œœœœ ˙
Davis, “Tune-Up”
œœœœ
? ## ∑ ˙ ∑ œ
. œ œ
. . œ. ˙∑ œ. œ. œ ∑œ ˙ œ. ∑œ. œ œ
. . . .
g: iv7 VII7 IIIMA7 VIMA7 iiø7 V 7
E bm A b7 b b b b # D b6
œ œ
E m7
œ œ œ œ œ ˙A 9( 5)
A 13 D 6
˙
? b b 4 œ œ œ œ œ œ. J œ œ œ œ. J Ó
71
bbb 4 J
œœ œœ
You must re - mem - ber this a kiss is just a kiss, a sigh is just a sigh
bb 4 J œ œœ n œœœœœœ ˙˙˙˙
&bbb 4 ‰ Ó
71
j œœ .. œœ n œœœ œ
œ. nœ ˙ œ œ
œœ œœ œ
? bb 4 ‰ œ œœ œœœ œ œœ œ œ œœ œœ ˙ Ó
bbb 4 œ œ œ
œ œ œ ˙
œ œ œ
D¯≤: ii V7 ii7 V13 I V+9 I
? bb ∑ ∑ ∑ ∑ ∑ ∑
76
bbb
YT: d22CiKMPpaY
bbbb
Figure 9.3.3: Hupfeld, “As Time Goes By”
∑ ∑ ∑ ∑ ∑ ∑
76
& b
? bVI-II-V-I
b ∑ ∑ ∑ ∑ ∑ ∑
9.3.2
bbb
This progression can occur in one of the following three ways (or orderings):
• vi – ii – V – I
• I – vi – ii – V
• ii – V – I – vi
One can think of these reorderings as rotations, as shown in the example below.
# 4 w w ˙ ˙ ˙ ˙
8
œ œ œ
A:
CmIV IF7 vi B¯≤maj
V 7 E¯≤majI harmonic
IV VAø7 IV ID7 V
œ ˙
7 7
? b b J J J œJ ˙ œ œJ
whole-note harmonic rhythm FROMhalf-note rhythm
67
Œ ˙ Œ
68 9.3. SHORTER PROGRESSIONS THE CIRCLE OF FIFTHS
start start J start

œœ. œ. œ. œ. .œ œ. œ. . .œ œ. . .
Hal -vi
la - hal - lo - he! ii O - ho! I Tra - la - lei!
b œœ œ œ œ ˙˙˙˙ œœœ
œ
œ ˙˙ œœœ œ œ # ˙˙
68
&I b ii vi œ ˙
œ˙ V V œ œ œ # ˙˙ vi
f
? bb ˙ V œœœœ ˙ I œœœœ ii œ
œœœ
œ œ œ ˙
˙ œ
. . . œ. ˙ œ
. . œ. œ ˙ œ
. œ. œ. œ.
Figure 9.3.4: Rotations of the vi – ii – V. – I progression
? ###
291 g: iv7 7 VII MA7 MA7
III ø7 7
VI ii V
E bm A b7 E b m7 A b 13 b b # D b6
œ œ œ œD 6œ œ œ ˙A 9( 5) ˙
? bb 4 œ œ œ œ œ œ. J œ œ
œœ J. Ó
71
bbb 4 J
? ### œœ œœ
You must re - mem - ber this a kiss is just a kiss, a sigh is just a sigh
295
bb 4 œœ n œœœœœœ ˙˙˙˙ Ó
J œ
&bbb 4 ‰
71
j œœ .. n œœœ œ
œœ
9.3.2.1 vi-ii-V-I œ . nœ ˙ œ œ
? b b 4 ‰ œ œœ œœœ œ œœ œœ
œ œœœœ œœœ
bbb 4 œ œ œ œ ˙ Ó
œ œ œ ˙
œ
The vi – ii – V – I progression contains the lastœfour chords ofœ the circle of fifths
progression. D¯≤: ii V7 ii7 V13 I V+9 I
B b m7 E b7 Ab 7±
b
& b b b 44
76 F m7
w ˙. œ œ œ œ œ œ ˙.
b
& b b b 44 Œ ‰ œj Ó
You are the prom - ised kiss of spring - time,
Œ ‰ jÓ ∑ Œ ‰ jÓ
76
œœ œœ œœ
œ œ
? b b b 44 ˙ ˙ ˙
b ˙ ˙ ˙ ˙ ˙
A¯≤: vi7 ii7 V7 IMA7
YT: OPapxr8GvGA
Figure 9.3.5: Kern, “All the Things You Are”
Here is another example from more recent popular music.

w ww ww
? # # 44 www w
68CHAPTER 9.
w
HARMONIC PROGRESSION AND HARMONIC FUNCTION
D: ii7 V7 IMA7
C˜m F ˜m C˜ m F ˜m
# 4
B E Bsus4 B
& # 4 ˙˙˙ ˙˙˙ ˙˙

181
˙˙ ˙˙˙ ˙˙ ˙˙˙ ˙˙ ˙
˙ ˙ ˙
? # # 44 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
E: vi ii V I vi ii Vsus4 V
#
& # ∑
185
YT: ZyhrYis509A
Figure 9.3.6: Rasted, Norreen, Diff, and Nystrøm, “Barbie Girl” (chords
? ##
only)
∑
9.3.2.2 I-vi-ii-V
Here are examples of the I – vi – ii – V progression, sometimes called the 1950s

progression because of its prevalence during that decade, although this pro-
gression was also widely used in the 1930s and ’40s.
A b6 F m7 B b m9 E b9 A b6 F m7 B b m9 E b9
bb 4
80
&bb 4 œ w œœ œ œ œ œ œ œ w
‰
œ œœ œ œœ œ
Blue moon you saw me stand-ing a - lone, with-out a dream in my heart
bb 4
& b b 4 Œ Œ œœœ Œ œœœ Œ œœœœ Œ œœœ Œ œœ Œ œœ Œ œœœ Œ œœœ
80
œ œ œ œœ œœ œ œ
? bb 4 Œ
bb 4 ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙
A¯≤: I vi7 ii9 V9 I vi7 ii9 V9
b bb b bb
85
&
& bb b b b ∑∑w
85
?
b
YT: WTj7DvlptAc
Figure 9.3.7: Rodgers, “Blue Moon” (1930s)
F6 D m7 G m7 C 7 F6 D m7 G m7 C7
4 Œ ‰ œj œ œ œ ˙ Œ œ œ . œj œ
86
Vb 4 œ w œœœ
Some-where be - yond the sea some - wherewait - ing for me
4 j j
86
& b bb b bb
& bb b b b ∑∑w
85
?
9.3. SHORTER PROGRESSIONS FROM THE CIRCLE OF FIFTHS
b 69
F6 D m7 G m7 C 7 F6 D m7 G m7 C7
4 Œ ‰ j œ œ œ ˙ Œ œ œ. j
86
Vb 4 œ w œ œ œ œ œ œ17
œœ̇
Cm/E¯≤ ¯≤ the sea
E¯≤
œ œ
GmSome-where F be B Ao/Csome - where
D wait -Gm
?&b bb 44 Œ Œ œ̇œ‰ j œ̇ # œœ̇ j Ó œœ̇

282 - yond ing for me
jœœ̇ Ó œ̇ Œ ‰ jœ̇œ
86
œ œ .
œœœ œœœ œœœ œœœ ... œœœœ œœœ œœœ œœœ œœœœ .... œœœœ
œ
œ VII œ œiio/3rdœ V
? 4 Œ
g: i iv/3rd III VI i
b 4 œ œ œ œ œ œ œ œ œœ œ
? # # # 44 w œ œ w w œ œw wœ
w vi7 ii7 V7 ˙ I ˙ vi7 ii˙7 ˙ V7
283
F: I
V b ∑ ∑ ∑ ∑ ∑ ∑ YT:
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
91
_R8HhlaMvko
start9.3.8: Lawrence and Trenet,
Figure start “Beyond The Sea”start
(1940s)
& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
91
vi ii I
I ii vi V V vi
?Listen
b ∑ for∑this∑ bass
∑ line
∑ in∑ the∑ next
∑ recording.
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
V I ii
F# D #m G #m C# F# D #m G #m C#
? #### # 4 ˙ ˙
291
# 4 ˙ ˙ ˙ ˙ ˙ ˙
F˜: I vi ii V I vi ii V
? #### #
295
# YT: mEHcTciiXQY
Figure 9.3.9: Lymon, Santiago, Merchant, “Why Do Fools Fall in Love”
(1950s)
9.3.2.3 ii-V-I-vi
Below is an example of the ii – V – I – vi progression. In this example, the vi

chord acts as a link between the V – I cadence in the middle of the phrase
and the ii chord at the beginning of the next phrase. This harmonic activity
after the arrival on the I chord is like a “turnaround” in jazz. We will discuss
turnarounds more in a later chapter on jazz harmony.
? 4 Œ œ œ
b 4 œ œ œ œ œœ œœ œ œ œ œ
œ œ
70CHAPTER
F: 9.I HARMONIC
vi7 ii7PROGRESSION
V7 I AND
vi7HARMONIC
ii7 VFUNCTION
7
G m7 C 13sus b9) F 9
C 13 C 7(13 ± A m7/E D m9
V b 44 œ œ ˙
œ œ œ œ œ œ œ œ ˙. Œ œ œ œœ
91
Take my hand I'm a stran - ger in par - a - dise All lost in a
& b 44 w ˙˙ œœ œœ
91
˙˙ œœ b œœ ˙˙˙ ... œœœ www

www ˙. œ w
? b 44 ˙ ˙ ˙ ˙ œ œ ˙ ˙
˙
F: ii7 V7 IMA7 vi7
authentic cadence connects to next phrase
YT: WFrUsa5SUv0
Figure 9.3.10: Wright, Forrest, Borodin, “Stranger in Paradise”
If you view this video on YouTube, you will briefly see the double bass part,
which has lead–sheet symbols on it.
9.3.3 III-VI-II-V
The iii – vi – ii – V circle of fifths segment is sometimes repeated (or looped)

within a song.
9.3. SHORTER PROGRESSIONS FROM THE CIRCLE OF FIFTHS 71
10
C # m7 F # m7
##
& # 44 œ œ œ
Bm E E/D
œ œ œ œ œœ
95
œ ˙ œ œ œ œ.
# # # 4 œœ œœ .. œ œ
œ . œœ œœ œœ œ œœœ
great - test
œ œœ œœ
love of all is hap - pen - ing to me
& 4 œ œ. œœ .. œœ œœ
95
œ. œ œ.
? # # # 44 ˙ ˙ œ œ
˙
A: iii7 vi7 ii V V7/7th
C # m7 F # m7
### ‰ œj œ
97 Bm E E/D
& Œ œ œ
w
# # # œœ œœ .. œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ
97
I've found the
& œ œ. œœ ... œ œ œ œ œ œ œ œ œ œ
? ### ˙ œ œ
˙ ˙
iii7 vi7 ii V V7/7th
##
& # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
99
YT: IYzlVDlE72w
Figure 9.3.11: Masser and Creed, “Greatest Love of All”
# # # œ ‰ŒÓ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
99
& J
? # # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Sometimes, this progression is rotated to ii – V – iii – vi , as in “September,”

the well known song by Earth, Wind, and Fire.
# ˙ ˙
˙
iii7 vi7 ii V V7/7th
C # m7 F # m7 C # m7 F # m7
## 4 œ
B m7 E B m7 E
œœ œœ œ œ œ œœ Ó œ œœœ œ œ
99
& # 4 œ œ Ó
### 4
Ba - de - ya say do you re-mem-ber Ba - de - ya danc-ing in Sep-tem-ber
j j
& 4 œœ .. œœ ˙˙ œœ œœ ˙˙ œœ .. œœœ ˙˙˙ œœ œœ ˙˙
99
œ. œ ˙ œ œ ˙ œ. œ œ ˙
? # # # 44 œ œ œ Œœ #œ œ œ œ œ œ Œœ #œ œ œ
œ œ œœ œ œ œ
A: ii7 V iii7 vi7 ii7 V iii7 vi7
YT: Gs069dndIYk
Figure 9.3.12: White, McKay, Willis, “September”
This ii – V – iii – vi progression is also seen in the following song.
b
214
& b bbb c œ . j
œœœ ˙˙˙
j
œœœ ... œœœ ˙˙˙
j
œœœ .. œœœ ˙˙˙
j
œœœ ... œœœ ˙˙˙
œœ .. .
? bb c j j j j
b b b œ. œ ˙ œ. œ ˙ œ . œ ˙ œ. œ ˙
D¯: ii7 V iii7 vi ii7 V iii7 vi
bb
&bbb
205
YT: dQw4w9WgXcQ
Figure 9.3.13: Stock, Aitken, and Waterman, “Never Gonna Give You Up”
? bb
bbb
9.4 Harmonic Function
Now we will address non–circle–of–fifths progressions. Notice that we have not
included the vii◦ or IV chord in any of the shorter circle of fifths progressions
above. However, it is a common axiom that Rock ‘n’ Roll is made up of
three chords: ¯/F
ø7
I , IV , Gand V . This is because each of those chords represents
a harmonic function. Harmonic function refers to the tendency of certain
chords to progress to other chords, or to remain at rest. Many texts on music
theory enumerate three harmonic functions. In this text, we will discuss four.
1. Tonic function (abbreviated “ton.”): The I chord has tonic function,

which is a state of stability and rest. Tonic chords do not demand pro-
gression to other chords.
2. Dominant function (abbreviated “dom.”): The V and vii◦ (chords con-

taining the leading tone 7̂ and supertonic 2̂ ) tend to progress to tonic ( I ).
9.4. HARMONIC FUNCTION 73
Special note: The I/5th chord has dominant function when it resolves
to the V chord, as in the third chord from the end of the “Star-Spangled 17
Banner.”
B b/D F B b B b/D G m C ø7/G b B b/F Bb
œ œ (œ ) ˙
F F7
b œ œ œ . ( œJ ) œ
& b 43 œ œ œ. ˙
152
J
j (Bœ¯≤) ˙ E¯≤ Ao/C .
17
b œ3 œœ œ
O'er the land
œœ̇ œœ œœœ œœ ˙˙ œœ̇ œœ œœœ œœœ ..

of the free and the home of the brave!
. œ
Cm/E¯≤
b œ ˙˙
# œ̇œJ œœ
152
& œ̇
4
Gm F D Gm
œ œ œ œ
282
? bb œ̇ . œ œ̇œ œœ̇˙
( )
œ œ̇
? bg:b 43i œ ( œiv/)3rd œ . j œ (œ ) ˙ œ b œ œ.
iio/3rd
j ˙
VII III VI V i
œ ( œ) œ . œ œ œ ˙ œ bœ œ. œ œ
#
? # # 44 w wœ w œ˙ œ ˙w
˙ ˙ w
283
w ˙
( )
B¯≤: I/5th V7 I
dom. ton.
Figure 9.4.1: Key and Smith, “The Star–Spangled Banner”

start start start
vi ii I
3. Pre–dominant function (abbreviated “pre–dom.”): The IV and ii (chords
containing the subdominant 4̂ and submediant 6̂ ) tend to progress to
chords
I of dominant function.
ii vi V V vi
4. Tonic prolongation function (abbreviated “ton. prol.”): The vi and iii
(chords that share two common tones with 1̂ –3̂ –5̂ from the tonic triad)
tend to V
occur after the tonic chord Iand progress to chords ofiipre-dominant
function.
F # is represented
Harmonic function D #m G # mon aCflowchart
# F # in the
D #m G #m
next section. C#
?# # # 4
# # 4Harmonic
˙ Flowchart ˙
291
9.4.1# The ˙ ˙ ˙
˙ ˙ ˙
F˜: I vi ii V I vi ii V
FUNCTION: Tonic Tonic Prolongation Pre-Dominant Dominant Tonic

ROMAN iii IV viiº
I I
NUMERALS:
vi ii V
(dashed lines represent possible movement within a functional area)
Figure 9.4.2: Harmonic Flowchart in Major
Remember that IV goes to I in the plagal cadence and V goes to vi in

the deceptive cadence. When IV goes to I , label IV as having tonic prolonga-
tion function. The plagal cadence and deceptive cadence are exceptions to the
harmonic flowchart.
Here is the Harmonic Flowchart in minor. Note the addition of the subtonic
VII chord, which has one function—to progress to III .
& w œ # œvi œ b œ œ ii œ V˙ .
w
? c www www wwww
w
13
C: ii7 7 V99 I
Dm G C6
œ b œ jœ
& #c# cw ˙ . œ
175
œ #œ
FUNCTION: EmTon.
7 A Ton.
7 Prol. Pre-Dom. DmajDom.
7 Ton.
œ b œ œ ˙.
n œ . iva œ œw viiº
178
&
ROMAN i VIIœ b˙ III
i
ww ww ww wwww ww
NUMERALS:
? #c# cww ww
? www
VI iiº V
w w w
Figure 9.4.3: Harmonic Flowchart in Minor
ii7 ii7
C: D: V9 V7 I IMA7
# ## # cc ˙ .
The tonicC˜chord
m FI ˜can ˜m ofFãny
j
178 Em7 A7 Dmaj7
m progress
B E to aCchord m otherBsus4 B and,
& œ
directly function
a œ w˙˙˙ ˙˙
181
& ˙˙˙ ˙
˙˙ ˙˙˙ b ˙ ˙˙ n œ
˙˙˙ . ˙
˙˙ ˙
in fact, many pieces begin with a I – V – I progression, representing harmonic
function of Tonic–Dominant–Tonic.
˙
www ww ww
?? # # c
#c ˙ w ˙ ˙ w
9.4.2#Tonic–Dominant–Tonic ˙ w ˙ Progression
˙ ˙ ˙
D:most 7 VI7 in music, IMA7
This is the
E: viii elemental
ii progression
V vi oftenii realized with IV
Vsus4 –V–I.
C˜m F˜m C˜ m F ˜m
# D 7/F #
B E Bsus4 B
& ## 3c œ˙˙˙. œ ˙˙˙ œ˙˙. œ œ ˙˙ ˙ ˙

181
˙ ˙˙
˙ Œ œ˙˙ œ ˙˙ Œ
G D 7/A G
œ ˙˙ œ ˙ Œ
185
& 4 œ Œ ˙
? # # cp ˙ ˙ ˙
œ œ ˙œ œ œ˙ œ œ œ˙ œ œ œ œ˙ œ ˙œ œ œ
? # 3E: Œvi œ iiœ œ œ œ œ
4 V I vi ii Vsus4 V
#
œ. œ œ
G: IG V77/A
/5th DV77/F/3rd GI
# C3 œ . œ œ Œ G
185 D
Œ Œ œC œ Œ
tonic dominant tonic
& 4 œ œ
190
& c ˙˙ p œ œœ œ œœ œœ œœ œ œ Ó œ Ó
G7
˙˙ # œœ œœ œœ œœ œœ. œœ n œœ œ.
œ œ œ. . œ œ.YT:œ. OmQQoohTW80
œœœœ œ œ. œ œ.
œ œ 9.4.4:
? # p43 Œ Figure œ œ œ Piano
œ Mozart, œ œ œ œœœ
? c ww œ œ Ó wSonata, K. 283, I. œ. œœ.
œ. œ.V7/5th w œ Ó
G: I V7/3rd I
190 tonic dominant tonic
C: I V V7 I
&c ˙ Ó œ
˙˙ # œœ œœ œœ œœ œœ. œœ n œœ œ. Ó
C G G7 C
˙ œœ œœ œœ œœ œœ. œœ. œœ œœ . .
. .
p
? c ww œ œ Ó w œœ. œœ. Ó
œ. œ. w
C: I V V7 I
YT: o1iUR3GG4DQ
Figure 9.4.5: Beethoven, Piano Sonata in C major, Op. 2, No. 3, I.
9.4. HARMONIC FUNCTION 75 11
F# F# B/F #
# # # # 3conœbrio œ œ œ.
B
œœ œ œ œ œ. œ œ
& # 8 J J J
103
R RÔ J J J
#### 3 ‰
103 La don na è mo - bi - le qual più ma al ven to,
& # 8 œœœ œœœ ‰ œœ œœ ‰ œœ œœ ‰ œœœ œœœ

œ œ œ œ
? # # # # 38 œj ‰ ‰ œ œ œ œ j ‰ ‰
# œ œ œ
B: I V V I/5th
œ œœ œ œ œ œ
F C C 7sus F
? 4
œ ˙ œ œ œ YT:
œ œ œ œ œ˙
107
‰J Œ99NloaManx0
Œ
11
b 4
Verdi,# Rigoletto, # donna è mobile” #
# #4# # 3conœbrio œ
“La
œ. œ œ
107 B don't make it Fbad
Figure 9.4.6: take aF sad song and make itB/Fbet - ter
œ œ. œ œ
Hey Jude,
& b 4 # Œ 8 œJ J œ œ œ
103
& Jœ R RÔ
œœ œœ œœ œœ œœ œœ œœ œœ œœJ œœ Jœœ œJ œ
œ œ œœ œœ œœ
œœ œœ œ più
œ œ qual
? # #4# # Œ 3 ‰j
La don na è mo - bi - le ma al ven to,
j ‰j œjœœ j
103
& b 4 # 8 œ œ œœœœ œœ œ ‰œj œ œœj j ‰ j

œœœ œ . œ œœœ œ œœœ œ œœ œœœ œ
œ œ œœœ œ œ œ œ œœ œ œ. œ œ œ œ œ œ œ œœ œ
? # #F:# # 38 I œj ‰ ‰ V œ œ V7œsus4 œ jI ‰ ‰
# œ œ œ
B: I V V I/5th
œ œœ œ œ œ œ
F C C 7sus F
? 4
œ ˙ œ œ œ œ œ œ œ œ˙
107
b 4 ‰J Œ Œ
107
Hey Jude, don't make it bad take a sad song and make it bet - ter
4
&b 4 Œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
œ œœ œœ œœ
œœ œ œœ œœœ
? 4 Œ j j
b 4 œ œœ œ œ œj œ œj j j j œj œ œ œj
œ œ. œ œœ œ œ
œ œœ œ œ œ œœ œ œ. œ œœ œ œ œ œ œœ
F: I V V7sus4 I
YT: A_MjCqQoLLA
Figure 9.4.7: Lennon–McCartney, “Hey Jude”

12
œ œ œ œ œ œ
? # # # 44 œ .
A E7
J œ œ œ œ. Œ Œ ≈ œ
112
### 4 ‰ j ‰ j ‰
All my ex - es live in Tex - as And that's why
j‰ j ‰ j‰ j‰ j‰ j
112
& 4 œœ œœ œœœ œœœ œœœœ œœœœ œœœœ œœœœ

œ œ
? ### 4
4 œ œ œ œ œ œ œ œ œ
A: I V7
tonic dominant
? ### œ œ œ œ œ ‰ œ œ œ œ ˙
114 E7 A
J Ó
###
114 I hang my hat in Ten - nes - see
‰ j ‰ j ‰ j ‰ j ‰ œj ‰ œj ‰ j j
& œœœœ œœœœ œœœœ œœœœ œœ œœ œœœ ‰ œœœ
? ### œ œ œ œ œ
œ œ œ
V7 I
(dominant) tonic
Db Db E b m7 A b 7 E b m7 A b 7 Db
bb 4
&bbb 4 œ Œ Œ
116
œ œœ w œ œ œ œ
YT: Jk7uXaNuWNE
w œ œ œ œ
Figure 9.4.8: - S. the
Shafer
news and L. Shafer, “All
to My
day,Ex’s Live in ITexas”
œœ œœ œœ œ œœ œœ œœ œ œ œœ œ œœ
Startspreading I'm lea - ving want to be
bb 4 œ œœ œœ œœ œ œ œœ Œ Ó
116
&bbb 4 Œ Ó œ
The principle of “Tonic–Dominant–Tonic” could also be represented with
I –? 4 though
vii◦ b– I . Even œ that “dominant”
œ œ œ “ V ”)
b b b b sections,
in earlier 4 ∑“dominant
we learned
Œ œ Œ in termsŒ of œmeans
œ Œ function” œ Œ also
Œ “ 5̂Œ ” (and Œ œ
harmony means “a chord
that progresses to the tonic chord.” We will revisit7 this7 concept and other
D¯≤: I I ii V ii7 V7 I
possibilities for “dominant function” later.
9.4.3 Tonic–PreDominant–Dominant–Tonic Progression

This sequence of harmonic functions can be realized in four possible ways:
• I – ii – V – I
• I – IV – V – I
• I – IV – vii◦ – I
• I – ii – vii◦ – I
Here are examples with I – ii – V – I .

9.4. HARMONIC FUNCTION 77
14
‰ œ œœ‰ œœ œœ ‰ œœœœœœ‰ œœœœœœ
C D m7/C
c œ
194
& œ œ œ œ
≈ œJ . œ ≈ œJ . œ ≈ œ . œ ≈ œ . œ
J J
?c ˙ ˙ ˙ ˙
C: I ii7/7th
tonic pre-dominant
‰ œ œ œ‰
œ œœ ‰ œœ œœ‰ œœ œœ
G 7/B C
œ œ
196
& œ .œ œ œ œ œ œ œ œ œ
≈ J ≈ œJ . œ ≈ œJ . œ ≈ œJ . œ
?˙ ˙ ˙ ˙
V7/3rd I
ø
dominant tonic
b C œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ Œ œœ
Gm Gm Gm A 7/G
b œœ œœ
198
& œœ œ œ œ œ vqM4tCZ7RV8 œœ œœ œœ
œœ œœ œ œ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ
œ œ œœ œœ œ œ œœ œœ œ œ YT:
Figure 9.4.9: Bach, J.S., Well–Tempered Clavier, Book I, Prelude 1 in C
? bb C Œ œ Œ Ó œ Œ Ó
major BWV 846
g: i œi Œ Ó i œiiø7Œ/7th Ó
ø D 7/F #
b œ œ œ œ œ œ œ œœ œ Œ œœ œœ # œ œ œ œ œ œ œ œ Œ
203 A 7/G D7 Gm
b
& œ œ œœ œœ œ œ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œœ
œœ œœ œœ œœ œœ œœ œ œ # œœ œœ œ œ œœ œœ œ œ œœ œœ
? b œø7 Œ Ó Œ Ó œ Œ Ó
b ii /7th #Vœ7/3rd V7 œi Œ Œ
Ab Db Eb Ab
b ˙.
& b b b 43 ˙˙ ..
207
œ œ œ œ œ Œ
˙. œ œ œ œ œ
Z œœ œœ œœ œœ œœ œœ
? b b b 43 œ œ œœ œœ
b œ œ
œ œ
A¯≤: °
I * °
IV *°
V *°
I *
?˙ ˙ ˙ ˙
78CHAPTER
V7/3rd 9. HARMONIC PROGRESSION
I AND HARMONIC FUNCTION
ø
dominant tonic
b C œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ Œ œœ
Gm Gm Gm A 7/G
b œœ œœ
198
& œœ œœ œœ œœ œœ œœ
œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ
12
? bb C Œ œ Œ Ó œ Œ Ó
œ Œ Ó œ Œ Ó
? # # # g:4 œ . œ œ œi œ œ œ
A E7
J œ tonicœ œ œ. Œ Œ ≈ œ pre-dom.
i i iiø7/7th
ø4
112
#
œ Œ œ Œ
œj œ œ j œ œœ
A 7/G D 7/F D7 Gm
#œ œ œ œ œ œ
203
#b#b# œ4 œœ œœjœ œœjœœ

All my ex - es live in Tex - as And that's why
& œ4 œ‰œ œœ œ‰œ œœ œ‰ ‰ ‰ œ œ œ œ œ œ

j ‰ j ‰# œ œj œ‰œ œ œ jœœ œœ œ œ
112
& œ œ œœ œ œ œœ œœœœ œœ œ œ œœœœ œœ œ œ œœœœœ œœ œœœœœœ œ œœœœ œ œœœœ œ œ

? #b#b# œ4 Œ Óœ
4 œ œ # œ œŒ œÓ œ œ œ Œ œÓ œ
œ
Œ Œ
ø7/7th
iiA: I V7/3rd V7 V7 i
(pre-dom.)
tonic dominant dominant tonic
œ œ œ œ D˙YT: œ œ œ Eb ˙
E 7 Ab b Ab
? #b # œ
A
.
& b #b b 43
207
˙. ‰ ˙ . œJ O0PChj-uQPo œ œ œ Óœ œ Œ
114
˙ .
Figure 9.4.10: Mozart, Symphony No. 40 in G minor,
œ œ œ K. 550,
œ I.œ (textural
# # # ‰3 Zj ‰œœ œœ j ‰ j œ ‰ œ j ‰ œ j ‰œ j ‰ jœ‰ œj
114 I hang my hat in Ten - nes - see
reduction)
?
& b b b b 4 œœ œ œœœ œ œ œœ œœ œ œ œ œ œ œœ
œ œ œœ Vœ œœ œœ I œœ œœ
A¯≤: Iœœ
œ œœ œIVœœ
? ### œ ° œ * œ° *° *° *
œ œ œ œ œ
V7 I
(dominant) tonic
Db Db E b m7 A b 7 E b m7 A b 7 Db
bb 4
&bbb 4 œ Œ Œ
116
œ œœ w œ œ œ œ w œ œ œ œ
œœ œœ œœ œ œœ œœ œœ œ œ œœ œ œœ
Startspreading
- the news I'm lea - ving to day, I want to be
bb 4 œ œœ œœ œœ œ œ œœ Œ Ó
116
&bbb 4 Œ Ó œ
? bb 4 œ œ œ Œœ Œ œŒ œ Œ œ
bbb 4 ∑ œ Œ Œ œŒ Œ
D¯≤: I I ii7 V7 ii7 V7 I
tonic pre- dom. pre- dom. tonic
dom. dom.
YT: 5-pyc_z7WbY
Figure 9.4.11: Kander and Ebb, “New York, New York”

& ≈ œ .œ œ œ ≈ œ .œ œ œ ≈ œJ .œ œ œ ≈ œJ .œ œ œ
J J
9.4. ˙ ˙
? HARMONIC FUNCTION ˙ ˙ 79
? # # # 4 dominantjj j jœ œ œ
4 œ . G#mœ œ œ œ œG m Œ Ó
V /3rd A
7 I Bm
œG. m œ tonic Œ Ó
J J A øœ7/G
295
b b CA: œI œ œ œ œ œtonic œ œ œ œ Œ œ œ ii œ œ œ œpre-dom. œ œ œ œ Œ œœ

œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ
198
& œœ œœ œœ œœ œœ
E œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ Aœ œœ œœ œ œ œœ œœ œ œ œ œ
? ## # j œj œ œj Œ Ó jj j
#œ œ œ œ œ Œ Ó
299
. ‹ œ œ .
? b b Cœ Œ œ Œ Ó œ Œ Ó œ Œ Ó
V œ I œ Œ Ó
g: i dominant i i tonic iiø7/7th
? # # # A44ø 7/GA w w D7 w
D tonic E E pre-dom.
A
w D 7/F #
œ Œ œ œ Œ
œ
303 Gm
# œ œ
203
b A:œ I œœ œœ œ œœ œœ IV œ œ œ œ œV œœ œV œœ œœ œ œ I
& b 9.4.12: œ
œœ œ œ œœ œœ œ œ œœ œœ œ œ # œœBass”
œ œ œ(bass œœ œœ œand
YT: 7PCkvCPvDXk
œœ œœ œ œ Trainor
œœ œœ œ œ andœœ Kadish, œœ œœ line
œ œ œœ
Figure “All About That
˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙

chord symbols only)
˙
˙ ˙
˙ ˙˙ ˙˙˙
308
&? b œ Œ Ó ˙ ˙ Œ Ó œ Œ Ó ˙
309
b
Here are examples with# œI – IV – V – I realizing the Ton-PreDom-Dom-Ton œ Œ Œ
C: I
progression. vi IV V versus I 7 vi ii/3rd V
iiø7/7th V7/3rd V i
? 44 ˙
(pre-dom.) dominant tonic
C Am F G
Ab Db Eb Ab
b
& b b b 43 ˙˙ .. ˙. œ œ˙ œ ˙œ œ ˙ Œ
207
˙. C: I
œ œvi œ IVœ œV
Z¯≤ œœ œœ œœ œœ
??b bb bbb b
344
A¯≤
œœ œœ B¯≤m œœ œœ
D¯≤
311
œ œ w
G
bb w wœ œ wœ
œ
D¯≤: ° * ° *° *° *
j œj œ j IV Œ Ó Bm j
IV V I vi
? # # # 44AF¯≤: I #tonic œ
A
œE¯≤ B¯≤ . œ œ œF œ tonic
Œ Ó
? b 44 œ œœ .œ œ œœ œ œ œ œ œ œ œ œ œ œœ œdominant
295
b œ œœœpre-dom.
V I
J J
315
A: I ii œ œ œ œ œ œ œ œ œ œ œ œ œ
¯≤VII
tonic pre-dom.
? # # #Figuretonic j j œ j tonic
F: I IV I
j œj œ Chopin,
j ton.ŒWaltz
Ó œ Op.œ 34œNo.Œ 1 Ó
299 E A
# œ
YT: pceSX1hceOI
FUNCTION:
œ. ‹œ
9.4.13: œ œ prol.in œ .
A–flat major,
pre-dom.
V I
D¯≤sus2 Adominant
¯≤ E¯≤ A¯≤ E¯≤ D¯≤sus2 A¯≤ tonic
E¯≤ A¯≤ E¯≤
319
? #b b # 224 b œ . j
? b œ . œj œw
#b 4 w œ œ œw œ œ ˙ w œ œ œ˙
A D E E A
303
œ
¯≤: ¯≤VII
EA: I IV IIV IV I V ¯≤VII IV V I IV II
tonic pre-dom. dominant tonic
˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙ ˙˙˙

˙˙˙
308
& ˙
YT: CXnEgbDcITo
309
C: I 9.4.14:
Figure vi Crane,IV Kauffman,
V I
Skloff, Willis,
versus vi Wilde,
Solem, ii/3rd V There
“I’ll Be
For You” (bass line and chords only)
? 44 ˙
C Am F G
˙ ˙ ˙
C: I vi IV V
G¯≤ A¯≤ D¯≤ B¯≤m

311
? b b b 44 w w
bb w w
? # # 44 œ . œ œJ œ œJ œ Œ Ó
œ. #œ œ œ œ œ Œ Ó
A: I ii
? ### j œj œ œj Œ Ó
jj j Œ Ó
299 E A
œ. ‹œ œ œ œ œ œ. # œ œ
Progressions using vii◦ ( I – IV – vii◦ – I and I – ii – vii◦ – I ) are less common
because of the instability of diminished chords.
V I
? ### 4
9.4.4 The A
Tonic–Tonic
D Prolongation–PreDominant–Dominant Progression
w w
E E A
303
4 w w
This progression is most commonly realized with I – vi – IV – V , although in
œ
classical music one will often encounter I – vi – ii/3rd – V (mentioned above in
the section
A:onI vi – ii – V – I ). IV V V I
Notice the bass line starts with descending thirds.
˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙ ˙˙˙
&˙ ˙ ˙˙˙ ˙ ˙
308
˙
C: I vi IV V versus I vi ii/3rd V
309
&
Figure 9.4.15: Compare I – vi – IV – V to I – vi – ii/3rd – V (the bass lines are
the same)
Here is a musical example with I – vi – ii/3rd – V . 15
Eb F m7/A b Bb
˙ œ œ œ œ œ œnœ œ œ œ bœ œ
315
&
Cm
bb C œ œœnœœœœ bœœœ
b œnœ œ œbœ
211
&
p
? b C œ Œ Œ Œ
& b b œ & œœ œœ œœ w œœ œœ œœ w œœ œœ œœ w œœ œœ œœ
319
E¯≤: I vi ii7/3rd V
tonic ton. prol. pre-dom. dominant
Eb F m7/A b Bb
˙ œ œ œ œ œ œ nœ œ œ œ bœ œ œ
323 Cm
& b ˙ œ nœ œ œ œ bœ œ œ œ œ œ œ
&bb œ
215
nœ
ÿ cresc.
Œ œœ œœ œœ Œ œœ œœ œœ Œ œœ œœ œœ Œ œœ œœ œœ
?
& bb w
b w œ œ œ w œ œ œ w œ œ œ
327
I vi ii7/3rd V
tonic ton. prol. pre-dom. dominant
B¯≤
b
F Cm Gm
&b c
219
ww wwwYT: SSeveT_9ZxEwww www

w
? bb c
Figure 9.4.16: Beethoven, Pathétique Sonata, Op. 13, I
w w w
9.4.4.1 I–vi–IV–V w
B¯≤: I V ii vi
As mentioned earlier, the progression I – vi – IV – V was so prevalent in the
1950s that itBmis knownFãs
7 theA“sus2
‘50’sunusual
progression”
E9
unusual
G andDthe “50’s F˜7pro-
Emdoo-wop
7
# w
& # c www ww ww
223
w www ww ww ww ww w
w ww w
? # # c www # ww w # www w ww ww # ww
A: I IV V V I
˙˙˙ ˙˙ ˙˙˙
˙˙˙ 9.5. EXCEPTIONS ˙˙˙ ˙˙ HARMONIC
˙˙ ˙˙˙
& ˙ ˙ ˙
CREATED BY SEQUENCES 81
gression.”
C: I vi IV Listen
V for versus
this bass line
I in thevifollowingiiexamples.
/3rd V
18 309
? # # # 44 ? j 4j œ ˙ j Œ Ó j œ
A C Bm Am F G
œ. #œ 4
œ œ œ˙ . œ œ œ Œ Ó
˙ œ ˙J J œ
295
A: I ii
C: I vi IV V
? ###
E
jj j Œ Ó
A
j œj œ œj Œ Ó
299
? œ. ‹œ œ œ œ œ œ. # œ œ
11 Figure 9.4.17: I – vi – IV – V bass line in C major
V I
# # 44 w Belvin, Hodge,
• Carmichael and Loesser, “Heart and Soul” (in C major) (YouTube)
?• #Williams, w (in A-flat wmajor) (YouTube)
A D E E A
303 w “Earth Angel” œ
?
19
• Parton,
A: I“I Will AlwaysIV
Love You” (inVA major) (YouTube)
V I
˙˙˙ ˙˙˙
• Johnny Ramone, Dee Dee Ramone, Joey Ramone, “Rock ‘n’ Roll High
˙˙ ˙ ˙
˙ ˙˙ ˙˙ ˙˙˙
˙ ˙ ˙ harmonic
308
School” (in C major) (YouTube)
&In the above examples,
˙ the˙chords have have half-note ˙ rhythm. In
?
23 the following example, the chords have whole-note harmonic rhythm (4 beats
309
C:chord).
per I vi IV V versus I vi ii/3rd V
? 44 ˙
C major)
• Stephens and Gad, “All of Me” (in A–flat Am(YouTube)
F G
The I – vi – IV – V progression can also be ˙ IV – V ˙– I – vi , as˙ in the

rotated to
following example.
?
27 C: I vi IV V
G¯≤ A¯≤ D¯≤ B¯≤m

311
? b b b 44 w w
bb w w
D¯≤: IV V I vi
? bb b
315
bb YT: PIh2xe4jnpk
Figure 9.4.18: Atwey, Messinger, Pellizzer, Spivak, Tanas, “Rude” (bass line
and chords only)
? bb b
323
Youb will
b see more examples of Tonic–Tonic Prolongation–PreDominant–Dominant
progressions, including the use of the iii chord, in the Practice Exercises and
the Homework.
? bb b
327 Remember, there are two exceptions in Harmonic Function: IV has tonic
bb
prolongation function when it progresses to I , and I/5th has dominant function
when it progresses to V .
9.5 Exceptions Created by Harmonic Sequences

Exceptions to the harmonic flowchart often can be explained by harmonic
sequences.
Œ œœ œœ œœ Œ œœ œœ œœ Œ œ œ œ Œ œ œ œ
FUNCTION:
?Ton.
b b b w Ton. Prol. wPre-Dom. œ œœ œœ w œœ œœ œœ
œ œ œDom.w œTon.
82CHAPTER iii IVPROGRESSION
ROMAN I 9. HARMONIC
vi V ii7/3rdAND HARMONIC
V FUNCTION
bVII Cm
I vi ii I
B¯≤bVII bVII
NUMERALS:
b
15
& b 44 wE b
219 F Gm
Fw
wwrepresent œw
w wm7/A b
wwB b
˙ œ œ wœ œ œ n œ œ œ œ b œ œ area) w w
Cm
bb C œ œœnœœœœ
(dashed lines possible movement within a functional
b bœ œ œ œnœ œ œbœ
211
?
& bb 4 4
wD
? # # # # 44 wpœ œ œ œ œ œ œ œ wn œ œ œ œ œ œ œ œ w
327
nœ œ œ œ œ œ œ œ
E D A
? b B¯≤C: Iœ œœœœœœœœ
b b œ & œœ œœ œœ ŒwV œœ œœ œœ iiŒ œœ œœ œœ viŒ œ œ œ
œ œ œ
E: I ¯≤VII unusual w unusual
IV ¯≤w
VII
FUNCTION:E¯≤: I vi ton. prol. ii7/3rd V
b
tonic pre-dom. dom.
& b E b ∑˙G C∑m ∑ F m7/A b ∑ ∑B b ∑

223
œ œ œ œ œ œ
œ nœ œ œ bœ œ œ œ œ œ œ
# # #b 44 9.5.1:
F ˜m F ˜m
?Figure
G AYT: A
Q4TK82N1nEk G G
˙ n w n œ n w What b œ œAœFeeling”
331
& b b œ nw nw w w w œ n œwœ œ œ
215
Forsey, Moroder, Cara, “Flashdance...
? b b A:ÿ ¯≤∑VII
cresc. ¯≤VII∑ I ∑ I ¯≤VII∑ ¯≤VII ∑ vi ∑
vi
example. Œ œ œ œ
œ œ isœ betweenŒ œœ œœ œœ Œ œ dom. Œ œ œ œ
œ œ
The sequence dom. thetonic
first two bars and the deceptive
last twocadence
bars of the
? bb w w œ œ œ w œœ œœ œœ w œœ œœ œœ
FUNCTION:
ˆ
b
? b b 44
339
w up a P5 w w up a P5 w
I vi ii7/3rd V
b b 4 B¯≤ F Cm Gm
219
& 4 w
ww wwwsequenced up a M2 www ww
w
? 4
quenceb b 4
Figure 9.5.2: Exceptions in “Flashdance... What A Feeling” created by se-
? b w w
343
b w w
There are unusual chord resolutions in the verse of “Hotel California,” in
B¯≤: I V ii vi
the example below.
unusual unusual
? bb # 4
F ˜7 F ˜7
353
w
& # 4 www ww ww
223 Bm Asus2 E9 G D Em7
w www ww
w
ww
ww ww ww
w w
? # # 44 www # ww w # www w ww ww # ww
w w
b: i V7 VII IV9 VI III iv7 V7
unusual unusual unusual
YT: YW4dzWE1SUs
Figure 9.5.3: Felder, Henley, Frey, “Hotel California”
The example below shows how these exceptions come about through har-
monic sequences.
sequenced up a M2
9.6. THE SUBTONIC VII CHORD IN POPULAR MUSIC 83
343
? ## 4 w w w w
4 w
up a P5
w
up a P5
w up a P5 w
pre-dom. dom.
down a M2 down a M2
? ##
351
18
Figure 9.5.4: Exceptions in “Hotel California” created through sequences
# # # for
?Look j œjsequences
44 harmonic œ j as a possible explanation
j œ when you encounter
A Bm
#œ œ Œ Ó œ . œ œ œ œ Œ Ó
295
unusual chordœ .progressions. œ J J

A: I ii
? ### j jœ j Œ Ó
9.6 The
E Subtonic VII ChordAin Popular Music
j jœ j Œ Ó œ œ mode
299
mixture andœ the# œ

. Mixolydian œ later, the
19
? bAlthough
323
œ ‹ œ
we. will œ œmode œ
b important
discuss
b
ubiquity of the subtonic chord ( VII ) in rock and popular music makes it
2
Vto discuss here. I
The 2 VII chord can precede tonic, dominant, and pre-dominant chords,
? # # # 44 w w
A D E E A
w
which means it can substitute for any function except tonic.
303
w œ
A: I IV V V I
FUNCTION: Ton. Ton. Prol. Pre-Dom. Dom. Ton.
˙˙ ˙˙ ˙˙˙ ˙˙˙ IV ˙˙ V˙ ˙˙˙
&˙ ˙
iii
˙ I ˙˙ ˙ ˙˙
308
ROMAN
bVII
vi ii I
b b
NUMERALS:
V VII versus I VII vi
309
C: I vi IV ii/3rd V
? 44 ˙
C Am F G
˙
Figure 9.6.1: Harmonic Flowchart for Popular Music with Subtonic VII
˙ ˙
? bb
327 C: I vi IV V
chord in Major
311
b G¯≤ A¯≤ D¯≤ B¯≤m
?Noticeb also
44 that
in theb bfollowing fromwpopular music. w w
movement from IV – I (from the plagal cadence) is common
b b w examples
Here are examples ending with 2 VII – IV – I , where IV progresses to I (a
D¯≤: IVand is precededVby 2 VII .
plagal cadence) I vi
? b
335
b b? 4 œF œ œ œ œ œ œ œ b œE¯≤œ œ œ œ œ œ œ B¯≤
315 F
b 4 œœœœœœœœ œœœœœœœœ
F: I ¯≤VII IV I
? bb
339 FUNCTION: tonic ton. prol. pre-dom. tonic
319
b
? b b 9.6.2: j j line and chords only)
b C b œ . Lennon–McCartney, b œ . (bass
YT: A_MjCqQoLLA
Figure œ œ œ œ œ “Hey ˙
Jude” œ œ œ œ œ ˙
? bb
347
b Consider the following questions: When a phrase ends on the IV chord,

does it have dominant function (i.e, is it a half cadence)? Does IV have
? b
355
bb
? 4 œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ
315 F E¯≤ B¯≤ F
dominant
F: function
I ¯≤VII
in popular music when it IV
progresses to I ? IIf so, does 2 VII
have pre–dominant function in the above progression?
Notice thattonic
FUNCTION: 2 VII begins the phrase
ton. in the following
prol. example, and
pre-dom. proceeds
tonic
to a IV – I conclusion.
D¯≤sus2 A¯≤ E¯≤ A¯≤ E¯≤ D¯≤sus2 A¯≤ E¯≤ A¯≤ E¯≤ 19
319
? bb ? bb C b œ . j b œ . œj œ
b œ œ œ œ œ ˙ œ œ ˙
323
b œ
E¯≤: ¯≤VII IV I IV I ¯≤VII IV I IV I
FUNCTION: Ton. Ton. Prol. Pre-Dom. Dom.

YT: z8rQ575DWD8 Ton.
iii
Figure 9.6.3: IV U2, “Desire”V (bass line and chords)
ROMAN
b
I vi ii I
bVII bVII
NUMERALS:
VII 19
? bb
323
b
The following example has 2 VII preceding and following the IV chord.
Does the 2 lines
(dashed VII represent
chord have tonic
possible prolongation
movement as labeled,
within a functional area)or is it “pre pre–dominant”
in function?
? # # # # 44 œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ
327
œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
E D A D
FUNCTION: Ton. Ton. Prol. Pre-Dom. Dom. œ œTon.

iii
ROMAN
E: I ¯≤VII
IV
V IV ¯≤VII
b
I vitonic ii ton. prol. I
bVII bVII
? ####
NUMERALS:FUNCTION: pre-dom. dom.
331 VII

YT: CdqoNKCCt7A
Figure 9.6.4: Forsey and Schiff, “Don’t You (Forget About Me)” (bass line
? #### ? # # # # 44 œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ
339 327 and chords)
œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
E D A D
Here is an example with 2 VII cadencing to the I chord in the first four
E: I ¯≤VII IV ¯≤VII
bars then progressing to the vi chord in a deceptive cadence in the second four
? ####
FUNCTION: tonic ton. prol. pre-dom. dom.
347 bars.
? # # # 44
331 G G A A G G F ˜m F ˜m
nw nw w w nw nw w w
? ####
355
A: ¯≤VII ¯≤VII I I ¯≤VII ¯≤VII vi vi
FUNCTION: dom. tonic dom. deceptive cadence
? ###
339
? ####
363 YT: _bwHK1xkgJA
Figure 9.6.5: Becker and Fagen, “Reelin’ in the Years” (bass line and chords)
? ###
347
? ###
355
9.7. THE BEST–SELLER PROGRESSION 85
9.7 The Best–Seller Progression
16
#
231
& # 44 ˙
D A Bm G
˙˙ ˙˙ ˙˙ ˙˙
˙ ˙ ˙
? # # 44 ˙ ˙
˙ ˙
D: I V vi IV
# # Figure
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
233 9.7.1: The I – V – vi – IV “Best-Seller” Progression
&
? # # ∑ ∑ ∑ ∑ ∑ ∑
The I – V – vi – IV progression occurs in many popular songs, has a Wikipedia
page, and has been mentioned in a New Yorker article about bestselling novels ∑ ∑ ∑ ∑
(see the third paragraph from the end of the article). The music group Axis of
Awesome made a compilation of several songs with the I – V – vi – IV progres-
sion that makes for an entertaining summary (warning: there is some language
#
&Here# is a written–out
after
243 the 5–minute mark).
∑ ∑example that
∑ includes ∑the I – V – vi∑– IV progression.
∑
13
? # ## ∑A ∑ E ∑ ∑ F˜m ∑ ∑
# # 4 ≈
122 D
& 4 œ œ œ œ œœœ œ œ œ œ œ œ. ˙ œ œ
### 4
Ne-ver mind I'll find some-one like you I wish
122
& 4 ∑ œ œ œ ∑œ œ œ œ ∑ ∑ œ ∑ œ œ ∑ œ
249
œ
œ œ œ œ œ œ œœ œœœ œ
œ
? ### 4
? # # 4 ∑˙ ∑ ˙ ∑ ∑ ˙˙ ∑ ˙ ∑
˙
A: I V vi IV
##
& ### ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
124
∑ ∑ ∑ ∑ ∑
255
& YT: hLQl3WQQoQ0
# # # Figure 9.7.2: Adkins and Wilson, “Someone Like You”
? # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑ ∑ ∑

124
&
?The# # #I – V∑ – vi –∑IV progression

∑ ∑ ∑ can ∑be rotated
∑ ∑ to become
∑ ∑ vi –∑IV – I∑– V ∑and
IV – I – V – vi .
137
### ∑ ∑ ∑ ∑ ∑ ∑
&
20
?# #
352
13
##
start start
F˜m
& # 44 ≈ œ œ œ œ œ œ œ œ
122 A E D
œ œ œ œ œ. ˙ œ œ
I vi
### 4
122 IV V V IV
& 4 œ œ œ œœœ œ œ œ œ œœœ œœœ

œ vi œ œ œ œ œ œ œ œ œ œI œ œ œœ œ
? # # # 44 ˙
˙ ˙ ˙
Figure ˙9.7.3: Example of I – V – vi – IV rotation to vi – IV˙– I – V
?Here
# # is an example with the vi – IV – I – V progression.
360 A: I V vi IV
b j
Fm D¯≤ A¯≤ E¯≤
& b b b 44 œ œ œ œ œ œ œ œ. œ ˙
124
? ##
377
b
& b b b 44 œ .
124 Hel - lo from the oth - er side
j j
œœ .. œœ ˙˙ œœ .. œœœ ˙˙˙
œ ˙ œ.
? b b b 44 j
b œ. j
œ ˙ œ ˙
16 œ.
A¯≤: vi IV I V
## 4
231
D A Bm G
& 4 ˙ ˙ ˙˙˙
b b b b ∑ ˙˙ ∑ ∑ ∑ ∑ ˙˙˙ YT:∑ YQHsXMglC9A˙
∑ ∑ ∑ ˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
126
&
? # # 44 ˙
Figure 9.7.4: Adkins and Kursten, “Hello”
˙ ˙ ˙
b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& b D: I IV∑ ∑ ∑ ∑
126
The vi – IV – I – V progression can also be thought of as being in minor:
V vi
i – VI – III – VII
D¯≤ A¯≤ E¯≤ D¯≤ A¯≤ E¯≤

? bb b
233
∑œ ∑ œ∑ ∑ œ∑ ∑ œ ∑ ∑ b∑b b ∑œ ∑ ∑œ ∑ œ∑ ∑ œ∑ ∑

Fm Fm
& b œœ œœ œœ œœ b œœ œœ œœ œœ
? bb b œ œ œ bbbb œ œ œ
b œ œ
A¯≤: vi IV I V f: i VI III VII
Figure 9.7.5: “Best–Seller” Progression with Roman Numerals in Major and

Relative Minor
b b b b ∑you ∑hear ∑this ∑progression

∑ ∑ in∑major
∑ or∑minor
∑ depends
∑ ∑ on ∑whether
∑
235
&
Whether
? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
bb
J
? b b 43 œ œ œ. j œ ˙ œ bœ œ. j
œ œ œ. œ œ œ ˙ œ bœ œ. œ œ ˙
( ) 87
œ œ ˙
9.8. THE I–VII–VI–VII ( )
PROGRESSION
œ œ
( ) ( )
you hear the first chord as the tonic or if you hear the third and fourth chord
as tonic and dominant. B¯≤: I/5th V7 I
Here is an example with the IV – I – V – vi progression. dom. ton.
b
G¯≤ D¯≤
& b b b b 44 Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
157
b
& b b b b 44 ww
157 Now that it's rain - ing more than ev - er Know that we still have each oth -
ww
w w
? b b b 44
bb w w
D¯≤: IV I
159
bbbb
A¯≤ B¯≤m
& b œ œ œ œ œ œ œ œ œœ œ œ
œ œ œ œ œ œ œœ
b
& b b b b ww
er You can stand un - der my um - br - el - la You can stand un - der my um - br - el -
w ww
w
? bb
bbb w w
V vi
YT: CvBfHwUxHIk
Figure 9.7.6: Stewart, Nash, Harrell, Carter, “Umbrella”
9.8 The i–VII–VI–VII Progression
The i – VII – VI – VII ( Am – G – F – G ) progression is similar to the descending 1̂

–27̂ –26̂ –5̂ bass line of the “Andalusian progression” ( Am – G – F – E ) in flamenco
music, with the exception of the last bass note or chord.
Here are examples of the i – VII – VI – VII progression.
20
? ##
352 vi I

start start
?4
Am G F G
4 œ œ Œ Œ
360
I vi
œ œ œ. œ œ œ œ œ. œ œ
IV a: i V VII V VI IV VII
?
362
20 vi I
YT: iXQUu5Dti4g
? # 9.8.1: Page and Plant, “Stairway to Heaven” (chords and bass line
only) #
352
Figure
start start
?4
Am G F G
4 œ œ Œ Œ
360
œ œ œ œ
I vi
œ. œ œ œ œ œ.
a: i VII VI VII
IV V V IV
B¯≤ A¯≤ B¯≤
? b b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
362
Cm
b vi œ œ œ œ œ œI œ œ œ œ œ œ œ œ œ œ
c: i VII VI VII
? bb
366
b ?4
Am G F G
4 œ œ Œ œ œ Œ
360
Adkins and Epworth, “Rolling In Theœ .Deep”

œ œ(chords
œ and . œ œ
œ œbass
YT: rYEDA3JcQqw
Figure 9.8.2:
line only) a: i VII VI VII
B¯≤ A¯≤ B¯≤

362
Cm
b œœœœœœœœ œœœœœœœœ
c: i VII VI VII
The i – VII – VI – VII progression can also be rotated to become VI – VII – i – VII .
? bb
366
b
start start
i VI
VII VII VII VII
VI i
? b
Figure
374 9.8.3: The i – VII – VI – VII progression rotating to VI – VII – i – VII
bb
In some cases, the fourth chord is eliminated. In that case, VI – VII – i – VII
becomes VI – VII – i – i , as in the following examples.
bb œ bb œ
A¯≤: Fm IV¯≤ I ¯≤ E¯≤ D¯≤ III¯≤ E¯≤
233
bb b b b b œœœ
D A f: Fm A
œœ œœ
& b b œœœ œœ œœ
vi V i VI VII
9.9. PRACTICE EXERCISES
œ œ œœœ œ œ œœœ 89
20
œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœœœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
B¯≤ B¯≤
? ##
235 C Dm C Dm
4
352
? b
& b b b4b œ œ
œ œ bbbb œ œ œ
start start
A¯≤: vi
?I b 44 ˙ w w
IV I V f: i VI III VII
˙ ˙ ˙
vi
˙ ˙ w ˙ ˙ w
œi œ œVœ œ œ œ œ VI iœ œ œ œ œ œ œ œ
¯≤ ¯≤
œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœœ œœœ œœœ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
B C Dm B C Dm
œ œ œ œ
235
239 b 4 œ
d: VI V VII VII
IV
œ
IV
& 4
& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
vi I
YT: 4RYlgoQrshw
? b 44 ˙ w w
? b ∑ ∑ ∑ ˙˙ ∑ ∑ w ∑ ∑ ∑ ∑ ˙ ∑ ∑˙˙ ∑ ∑w ∑ ∑ ∑
Figure 9.8.4: Bridges, Broadus, J. Mollings, L. Mollings, Roberts II, “All I
˙ ˙
Do Is Win” (chords and bass line)
?4
d:
AmVI VII G i F VI VII i G
4 œ F œ Œ œ Gœ Œ
360
œ . Amœ œ œ œ œ . œ œ
w VII w VI w w
4 w w w w
239
a: i VII
& 4 Cm B¯≤ A¯≤ B¯≤

362
b œ œ œ œ œ œ œœ œ œœ œ œœœ œœœ œ œœ œ œœ œ œœ
œ
? 4 c:œœ i œ œ œ œœ VIIœ œ œ œ VI
4 VII
? bb
366
b
a: VI VII i
start start
YT: F6AggxvVFRY
i VI
VII Glass, Metamorphosis

VII Figure 9.8.5:VII VII Two
The
VI i – VII – VI – VII progression can also
i be thought of as being in a major
key: vi – V – IV – V .
˙˙˙
Am G
˙˙˙ ˙˙˙
F
˙˙˙
G
˙˙˙
Am
˙˙˙
G
˙˙˙
F G
˙˙˙
374
&
a: i VII VI VII C: vi V IV V
Figure 9.8.6: The same progression viewed from minor and relative major
There are several more common harmonic progressions to explore in fu-

ture chapters dealing with topics like secondary chords, mode mixture, the
Neapolitan chord, augmented sixth chords, and jazz harmony.
# # # 8. D: _____ b 9. f˜: _____# #10. g: _____ b 11. c: _____# # #12.
#
maj7/D
# # G: _____
G_____ _____ _____ _____ _____ _____
b b
413
& b
7. f: _____
# M7 # # # PROGRESSION b # b # #
maj7
#
G_____/D _____ _____ _____ _____ _____
&Ex. e: III /5th 1. A: ii7 b 2. g: iiø7 #3. D: viiø7 b b 4. c: V7 #5. B:# IVM7/3rd
413
90CHAPTER 9. HARMONIC AND HARMONIC FUNCTION

bb b b # #2.# g: ii ## b b b _____ # _____
_____ _____ _____ _____ _____ _____
419 Ex. e: III /5th 1. A: ii7
M7 ø7 3. D: viiø7 4. c: V7 5. B: IVM7/3rd
& _____ b _____

bb ### ## b b 5.b c: iv7/3rd # 6. G: IM7
_____ _____
1. a: iv7 b b b 2. D¯≤: iii7

419
Day One Day&One: 3. f˜: viio7 4. D: vi7

1. Write the circle of fifths _____ progression in the following keys
_____ with_____
root
? b # #
_____ _____ _____
b
above. b b b _____ b b _____ # _____ b _____
b
425
position triads.
1. a: iv7 Label ¯≤: iii7
Roman 3. f˜: viio7 below
numerals and7 lead-sheet
5. c: iv7/3rd symbols
_____ b _____
2. D 4. D: vi 6. G: IM7
?Fb bmajor:
b b 7. f: V b b b8. A¯≤: ii7 #9.#b: viio7/5th b10.b B¯≤: viiø7 11.# e: iiø7/3rd b12. F: IVM7
425
431 (a) In 7
?b 7. f: V7 8. A¯≤: ii7 9. b: viio7/5th 10. B¯≤: viiø7 11. e: iiø7/3rd 12. F: IVM713
431
?b
bw ? _____
5w
435
& w #w
I
_____ _____ _____ _____ _____ _____ I
_____
# # w_____ w
432 1 2 3 4 6 7 8
&B #minor:
(b) In I
_____ _____ _____ _____ _____ _____ I
_____
##
432 1. º7↑ 1 2. M3↑2 3.
3 P5↑ 4 5
4. M7↑ 5.
6 º5↑ 7 8
6. m7↑
& ? _____
w5
441
& w bw
I I
w w
_____ _____ _____ _____ _____ _____ _____
?b wb b
433
1 2 3 4 6 7 8
i
_____ _____ _____ _____ _____ _____ _____ i
_____
433
? bb
1. m3↑ 1 2. m6↑ 2 3.3P5↑ 4 5
4. º7↑ 5. 6M3↑ 7 6. M6↑8
bw ? #_____
w5
& w
447 I
_____ _____ _____ _____ _____ _____ I
_____
w # # # _____ w _____ _____ _____ _____ _____ _____ _____ wI

434 1 2 3 4 6 7 8 13
&
?10. m7↑w5
I
& b w# # # _____
435
w # w
434 7 12. P5↑8
& B¯≤m1I # w _____ wC˜Im

7. º7↑ 1 8. M3↑ 2 9. 3+6↑ 4 6 º5↑
11.
? intervals above the given?

_____ _____ _____ _____ _____ _____
453 D Dº/F 13
& & _____ _____ _____ _____
2 3 4 5 6 7 8
2. Review. Write the following
1. º7↑ 2. M3↑ 3. P5↑ 4. M7↑ 5. º5↑ note. 6. m7↑
?
i
_____ _____ _____ _____ i
& bb ww1. f: _____ #ww 2. A: w_____ w3.wc: _____ w# w

435
441
w b w_____
w
1 2 3 4 5 6 7 8
4. E:
F˜º7 2. F˜7/C˜
? ?
457
1. m3↑
1. º7↑ 2.m6↑
M3↑ 3.3.P5↑
P5↑ 4.
4. M7↑ 5. 5.
º7↑ Dm/F M3↑º5↑ 6.6.M6↑
m7↑
Am
& b w ?&
? # w
441
& b w5. g: _____thewwlead-sheet ww b ww

447
w
3. Review.w Given 6. B: symbol
_____ and key, write the key 8.signature,
7. d: _____ F: _____
triad 7.or
1.º7↑
seventh8.chord,
m3↑ 2.M3↑
m6↑ and9.3.Roman
P5↑
+6↑ 10.4.m7↑
numeral.º7↑ 11.M3↑
5. º5↑ 12.M6↑
6. P5↑
b w DB ? #w
& w?
447
¯≤m/B C˜m
?
w? ? w
B˜º ¯≤maj7
w
453
ADº/F
&
G Am/G
&
461
& 7. º7↑ 8. M3↑ 9. +6↑

&10. m7↑ 11. º5↑ 12. P5↑
1. f: _____
1. a: _____ ˜: _____
2. cA:
2. _____ 3. E¯≤: _____
3. c: _____ 4.
4. E:
G: _____
_____
453
& F˜º7
?
F˜7/C˜
F˜m
?
? ?
F˜/A˜
465
457 Dm/F 7 Am
& &
Dmaj Fm
& &
5.
5. g:
b: _____
_____ 6.6.D:
B:_____
_____ f ˜_____
7.7.d: : _____ ¯≤: _____
8.8.AF: _____
459
&
4. Review. Correct the rhythmic notation of the following example.
G˜º/B Incorrect A¯≤maj7 Correct
? œ œ œ œ œ œ œ?
469 B Am/G
461
&4 ( œœ œ œœ œœ œ œœ œœ œ œ œœ œ œœ .œ œ œœ œœ&
)(œ œ œ œ œ œ œ œ œ)
ã4
466 1. a: _____ ≈ 2. c˜: _____ 3. E¯≤: _____ 4. G: _____
& F˜/A˜Incorrect F˜m DmajCorrect

(œ œ œ œ œ œ ? œ œ œ œ œ ?
465
7 Fm
ã&68 œ œ œ œ œ œ .
œ œ œ œ œ œ ) (œ œ œ œ œ œ œ)
œ&
471
5. b: _____ 6. D: _____ 7. f ˜: _____ 8. A¯≤: _____
469
&
17
Day Two:
5. For eachCcadence,
Bo/DlabelC/E
the chord(s)
Dm/F involved.
4 œ
C/G G C
& 4 œœœ œœ œœ œœ œœ œœ ˙˙
243
œ Cadence = œ ˙
Half Cadence =
œ Deceptive œ
Plagal Cadence =
Authentic Cadence = œ œ
? 44 œ œ œ œ ˙
C: I viio/3rd I/3rd ii/3rd I/5th V I
6. Analyze the following
passing progressions with lead-sheet symbols above and
Roman numerals
FUNCTION: tonicbelow. pre-dom. dom. tonic
####
_____ _____ _____ _____ _____ _____ _____ _____
& b ww
245
ww ww ww ww ww ww ww
w w w w
?b w w # # # # ww w w ww
w w w w
F: _____ _____ _____ _____ E: _____ _____ _____ _____
1 2 3 4 1 2 3 4
# # ww
253
b b the
For the _____
progression,
_____ do the following:
w
7. _____ _____ _____ _____ _____ _____
w the wwwRomanwwnumerals,
& Given ww write ww triads
ww or seventh
ww ww
(a) w w w w w
chords
w
(b) Analyze the harmonies with lead-sheet symbols above the staff
? #Analyze
# w thew harmonic function ofb beach harmonyw using w the wabbre-
(c)
w w
viations “ton.” for tonic function, “dom.” for dominant function,
“pre-dom.”
b: _____ for pre-dominant
_____ _____ B¯≤: _____ and_____
_____ function, “ton. prol.”
_____ for tonic
_____
1 2 3 4 1 2 3 4
prolongation function
(d) #Specify
b b b ww
_____ _____ _____ _____ _____ _____ _____ _____
ww ww
the cadence that ends the progression
& ww ww ˙˙˙ ˙˙
261
w ww w ww w w w ˙
w w _____
#
14
&? ## 44
_____ _____ _____ _____ _____
www
473
w w w bbb w w ˙ ˙
w w
D: I iii vi7 7 ii /3rd V I
G: _____ _____ _____ _____ E¯≤: _____ _____ _____ _____
FUNCTION: 1 _____
2 _____
3 4 _____ 1 _____ 2 _____
3 _____
4
Cadence: _______
? bto4download
479 _____ _____ _____ _____ _____ _____
Click here
www the
Click hereb to4 download
first homework assignment for this chapter.
the second homework assignment for this chap-
ter. ø7 7
g: i VI iv ii /3rd V i
FUNCTION: _____ _____ _____ _____ _____ _____
Cadence: _______
b
& b b 44
_____ _____ _____ _____ _____ _____
www
485
E¯≤: I IV ii7/3rd I/5th V I
FUNCTION: _____ _____ _____ _____ _____ _____
b
491
&bb
Cadence: _______
b
&bb
497
Chapter 10
Non–Chord Tones
10.1 Introduction to Non–Chord Tones

Non–chord tones are notes that do not belong to the chord. Sometimes
referred to as “embellishing tones” and “non–harmonic tones,” non–chord tones
are classified by how they are approached and left (either by same tone, step,
or leap).
There are nine types of non–chord tones.
Non–Chord Tone Approached by Left by

Passing Tone step step in same direction
Neighbor Tone step step in opposite direction
Appoggiatura leap step
Escape Tone step leap in opposite direction
Double Neighbor see text see text
Anticipation step same note
Pedal Point same note same note
Suspension same note step down
Retardation same note step up
Table 10.1.1
The following qualifiers can be applied to non–chord tones:
• Accented—occuring on the beat
• Unaccented—occuring on the weak part of the beat (on the offbeat)
• Chromatic—not belonging to the key
• Metrical—equal to the duration of the beat
• Sub–metrical—smaller than the beat
• Super–metrical—larger than the beat
10.2 Passing Tones

Passing tones are notes that pass between chord tones.
93
94 CHAPTER 10. NON–CHORD TONES
E¯≤ Cm
b 4
(E¯≤-G-B¯≤) app (C-E¯≤-G)
&bb 4 Œ Œ Œ
pt
œ
pt
œ œ (œ ) œ œ ( ) œ œ œ
( )
Girl you're the one I want to want me
bb
& b ∑b b
4
YT: rClUOdS5Zyw
Figure 10.2.1: Desrouleaux, Kirkpatrick, Martin, Robbins, Allan, “Want to

Want Me” D¯≤=D¯≤-F-A¯≤ A¯≤9(˜5)=A¯≤-C-E-G¯≤-B¯≤ D¯≤6=D¯≤-F-A¯≤-B¯≤
œ œ œ œ pt ˙ app ˙
E¯≤ Cm
? b bb b (E¯≤-G-B¯≤)
5
(C-E¯≤-G)
b b
b b4 Œ Œ Œ œ
pt
&In the4 first barœof the “Wantœ to(œ Want
) œ Me” example,
œ ( ) theœ passing
( œ ) tone
œ is
sigh is just a sigh
unaccented. In the third bar, it is accented (on the beat). The non–chord tone
Girl you're the one I want to want me
in bar 2 is an appoggiatura.
?
? b b ∑ b b b∑b b
E¯≤ Cm 7
There can be two consecutive diatonic passing tones in a descending scale
b 4
(E¯≤-G-B¯≤) 4 (C-E¯≤-G)
bbb
app
&bb 4 Œ Œ Œ œ (œ ) œ
segment from the root and fifth of aptchord. pt
œ œ (œ ) œ (œ) œ
D¯≤ A¯≤ ˜
9( 5) D¯≤6
Girl you're the one (A¯≤-C-E-G¯≤-B¯≤)
I want to (D¯≤-F-A¯≤-B¯≤)
want me
? b b b ∑œ ∑ ∑ (œ∑) ∑ ∑(œpt)∑ ∑ ∑œ ∑ ∑ ˙∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙∑ ∑ 4 ∑ ∑ ∑ ∑

8 (D¯≤-F-A¯≤)
? b bb bb
5 pt
bb ? b b ∑
bbb
sigh is just a sigh
D¯≤ A¯≤9(˜5) D¯≤6
œ œ ? b b ∑b
(D¯≤-F-A¯≤) (A¯≤-C-E-G¯≤-B¯≤) (D¯≤-F-A¯≤-B¯≤)
(œ ) œ ˙ ˙
7
? bb b
pt
bb
5 pt
bb
( )
YT: d22CiKMPpaY
Figure 10.2.2: Hupfeld, “As Time Goes By”
sigh is just a sigh
?Here
b b b b bis ∑an∑example
∑ ∑ ∑ with
∑ ∑chromatic
∑ ∑ ∑ ∑passing
∑ ∑ ∑tones.
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑7?∑ b ∑b
8
bbb
B¯≤7 E¯≤7
(B¯≤-D-F-A¯≤) (E¯≤-G-B¯≤-D¯≤)
b
& b 44 j
8
j œœ ( b( œœ )) (( # n œœ )) œœ œœ ..
pt pt pt
pt
œœ (( œœ )) (( # n œœ )) œœ œœ .. œ
œ pt pt
pt pt
b
& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ YT:
∑ ∑_40V2lcxM7k
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
11
Figure 10.2.3: Monk, “Blue Monk”
In the next section we discuss the neighbor tone.

10.3. NEIGHBOR TONES 95
10.3 Neighbor Tones
Neighbor tones move away from a note by step then return to the note.
18
G
(G-B-D)
#
Allegretto
œœ .. (( œœ )) œœ .. ((# # œœ )) ptœœ .. (( œœ )) œœ .. app

43 (E¯≤-G-B¯≤) ˙˙ (C-E¯≤-G)
pt
( œ)
269 E¯≤ Cm
& ( œ)
nt nt nt
b 4 pŒ
&bb Œ Œ
œ (œ ) œ ( œ) œ
pt
4 œ pt
œ (œ ) œ
nt nt nt
?# I want to œ want
43 Œ œ œ œ œ
Girl you're the one me
? b b ∑
4
bbb
# ∑D¯≤ ∑ ∑ YT: ∑ frrGAqzuOlA∑(A¯≤-C-E-G¯≤-B¯≤)
A¯≤9(˜5)∑ ∑ ∑(D¯≤-F-A¯≤-B¯≤)
D¯≤6 ∑ ∑
272
& Figure
œ (œpt) (œpt) œ
(D¯≤-F-A¯≤)
˙ ˙
10.3.1: Beethoven, Minuet in G, WoO 10, No. 2
? bb b
5
? #b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
sigh is just a sigh
In the next section we discuss the appogiatura.
? b b ∑b
7
# bb
∑ ∑ ∑ ∑ ∑ ∑ ∑
282
&
10.4 B¯≤7
Appoggiatura E¯≤7
(B¯≤-D-F-A¯≤) (E¯≤-G-B¯≤-D¯≤)
? b#
& b 44 ∑j
8
∑ ∑ ∑ j œ∑ b œ n œ ∑ œœ œœ .. ∑
pt pt pt
pt
œœ œœ # n œœ œœ œœ .. œ œ œpt # œ
The appoggiatura is approached by leap and left by step. )It
( is usually
) accented
œ
(
( ) ( ) ( )( )
(on the beat), which makes
( ) ( it )a particularly expressive non–chord
pt tone.
pt pt
# ∑Cm ∑ ∑ ∑ ∑ ∑ ∑
289
&
B¯≤ A¯≤ B¯≤
b
(C-E¯≤-G) (B¯≤-D-F) (A¯≤-C-E¯≤) (B¯≤-D-F)
& b b 44 ˙ jleap ( œ )
pt ant
œ
11
œ œ œ
app
œ. œ ∑
step
? # ∑ ∑ ∑ where ∑er ∑ ∑
( ) ( )
Near, far, - ev - you are
? b b œŒÓ
13
# ∑ b
∑ ∑ ∑ ∑ ∑ ∑
296
& Figure 10.4.1: Horner and Jennings, “My Heart Will Go On”
YT: WNIPqafd4As
live
?# ∑ ∑ ∑ ∑ ∑ ∑ ∑
The example above also has an anticipation, which is discussed in a later
section in this chapter.
2
E A Bsus4 B
œ œ) œ
(E-G˜-B) (A-C˜-E) (B-E-F˜) (B-D˜-F˜)
? # # # # 44 w
14
˙ ˙
app
Œ œ( w
? # # # # ∑ ∑ ∑ G∑ ∑YT: IxuThNgl3YA

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
18
18
Figure (G-B-D)
10.4.2: Springsteen, “Born to Run”
# 3 . ( œ ) œ .. ( # ntœ ) œ .. ( ntœ ) œ .. (ntœ ) ˙
Allegretto pt
& 4 œœ . ( œ ) œ (# œ ) œ œ ˙
269
( œ) ( œ)
p pt nt nt nt
? the
# 3leapŒ to and step away from any appoggiatura
œ can beœfrom any direc-
Notice that both the appoggiaturas in the following example resolve up.
Both
tion.
4 œ œ œ
A¯≤ E¯≤/G
j j app j
272
j j
(A¯≤-C-E¯≤) (E¯≤-G-B¯≤)
bb 6 œ (nœ )
œ œ Œ œ Œ œ
& b 8 œ œ (nœ )
app
n( œ ) œ œ œ
(nœ )
‰ œ œ œ œ œ ‰ œ œ œ œ œ
app app
? b b 68 ‰ œ œ œ œ œ œ œ œ œ œ
b œ ‰ ‰ Œ. œ ‰ ‰ Œ.
œ œ
J J
b
& b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
275
YT: Fcomfvmq28Q
? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure 10.4.3: Mozart, Symphony No. 40, K. 550, II
b
b
&bb ∑ ∑ ∑ ∑ ∑ ∑
288
In the next section we discuss the escape tone.
? bb ∑ ∑ ∑ ∑ ∑ ∑
b
10.5 Escape Tone
An escape tone is approached by step and left by leap in the opposite direction.
An easy example to remember is the end of the “Star–Spangled Banner.” The
word “of” in “home of the brave” is an escape tone.
& 4 œœ ..E (( œœ )) œ . ((# # œœ )) œ . (( œœ )) œA. (( œœ )) ˙Bsus4 B
# p (E-G˜-B) ( œ œ) œ
nt (A-C˜-E) nt (B-E-F˜) (B-D˜-F˜)
14
? # 4 ˙ ˙ 97
pt nt app
# 4 w NEIGHBOR
10.6. #DOUBLE Œ œ w
?# 3 Œ œ œ
4 œ œ œ
B¯≤/F F7 B¯≤
b 3 œ. œ
(B¯≤-D-F) (F-A-C-E¯≤) (B¯≤-D-F)
œ
18
&b 4 ˙
esc
J
( )
A¯≤ E¯≤/G
j j app brave. j j
272
of j
(A¯≤-C-E¯≤) (E¯≤-G-B¯≤)
bb b 6 œ app œ œ œ
8 œ ( n œ) Œ œ Œ
home the
20 & ( n œ)
bb ∑ ∑ ( n∑œ) ∑ ∑ ∑ ∑ ( n ∑œ) ∑ œ ∑ ∑ œ∑
œ œ
&
‰ œ œ œ œ œ ‰ “Star–Spangledœ œ œ œBanner” œ
app YT: LGvW6jHUHiY app
? b b 10.5.1:
68 ‰ Francis Scott
œ œ‰ œ‰ œŒ . œ œ œ œ‰ œ‰ œŒ . œ œ
Key and John Smith,
b
Figure
œ œ
J
Here is another example, with escape tones used J in a melodic sequence.
C G/F C/E F G7 C
œ œ
(C-E-G) (G-B-D-F) (C-E-G) (F-A-C) (C-E-G)
# œ) œ
(G-B-D-F)
œ œ . ( œ )œ . (esc
œ) œ ‰ ( œ )œ ‰ œ œ ‰ œ Œ Œ
app
& 43
275 app
esc
(
f œ œ œ œœ
œ
& 43 Œ œœ(E-G œœ œœ Œ ?œ œ ŒA Œ Œ
2
E Bsus4 B
( œ œ)
˜-B) (A-C˜-E) (B-E-F˜) (B-D˜-F˜)
? # # # # 44 œ
14
˙ ˙
app
w Œ œ w
& ∑ B¯≤/F
∑ ∑ ∑ ∑ ∑ YT:∑ A-Qfd7gpGfU
∑F7 ∑ ∑ ∑ B¯≤ ∑ ∑ ∑ ∑ ∑
279
bb 3 œ . (œ)
(B¯≤-D-F)
Figure 10.5.2: Haydn, Sonata (F-A-C-E¯≤) (B¯≤-D-F)
No. 48 in C Major, Hob. XVI: 35, III
œ
18
˙
esc
& 4 J
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Here ishome
an example of an escape
of tone
the in popular music.
brave.
C Em7 Fmaj7
. . pt pt œ . œ œ. œ. œ(esc
œ .)
4 Œ œ œ œœœœœ
(C-E-G) (E-G-B-D) (F-A-C-E)
w w
20
&4
( ) ( )
≈ R
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
24
& Figure
YT: ap87QgZKTNw
10.5.3: P. McCartney and L. McCartney, “Silly Love Songs”
10.6 Double Neighbor

The double neighbor (sometimes called a “neighbor group”) occur when both
the upper and lower neighbor occur before the return to the starting tone.
. . pt pt . . esc œ.
4b Œ˙ œ œ œ œ œ œ ˙œ œ . ≈ œ œ ˙œ œ( ) w
˙˙ w
20
&&4 ˙ ˙ R ˙
( ) ( )
18
98 G CHAPTER 10. NON–CHORD TONES
˙
(G-B-D)
?Allegretto
˙
#b C(C-E-G) ˙nt nt ˙
. . .
& 4 œœ .. dn (( œœ )) œ . ((# # œœdn)) œ . (( œœ )œ) œœ . dn œ(( œœ) )) œ ˙˙ œ
3 œ œ
269 pt
nt
4 œ pt œ (# œ nt œ ) œ nt (# œ nt
& 4 œ p( œ ) œ
24
317
& b œ
? # 43 Œ œ
œ œ
Figure 10.6.1: C major arpeggio embellished with double neighbors œ
?
& b ∑ ∑ ∑ ∑ ∑ ∑ ∑
25
A¯≤ E¯≤/G
j Gapp C j G C j œ (Dm j
272
j
C (A¯≤-C-E¯≤) implied) (E¯≤-G-B¯≤) Dm
bb b 6 œj œ ( n œœ) œ œapp œ )
# œ œ œ œ
& c œ .8 œœ œ œ œ . œjœœ œ œŒœ œ œ .œ œJ ( n œ)
&
œ œ
œ (œ Œ œ (# œ œ) œœ .
319 (
( n œ) œ
)
( n œ)
p
˙˙ œœ ‰ œœœ ˙˙ œ œœœ œ œœ œœœ ‰ œ œ œ œ œ
app app dn dn dn
? cb b œ 68 ‰
œ œ‰ œ‰ œŒ . œ œ Ó œ œ‰ œ‰ œŒ∑. œ œœ
?
b
VJ I
œ (iiœimplied)
C: I V I
J ii
C G/F C/E F G7 C
œ Sonatina
œ # inœ œC Major,
(C-E-G) (G-B-D-F) (C-E-G)
YT: (F-A-C)
ep6rzB1Kx3U (G-B-D-F) (C-E-G)
. ( œ )œ . ( esc
œ œ 10.6.2: œKuhlau, ( œ)
œ ‰ Op.
app
3 œ
275
) œ
‰ œ Œ Œ
app
‰ œ
esc 55, No. 1, I
&4
Figure ( )
f œ œ œ œœ
3 œ œ œ
& 4 ŒBe sure œœ Œof chord tones whenŒ analyzing non–chord Œ appog-
Œ
?
The
giaturas. œœ toœkeep
double neighbor
œ track is sometimes confused with escape tones and
tones.
Look at the next example and ask yourself how you would analyze the harmony
and non–chord tones on beat 4 of the first measure.
D E¯≤
279 (D-F˜-A) (E¯≤-G-B¯≤)
b #œ œ
?
& b 44 (# œ ) œ ( œ ) œ ( œ ) œ ( œ ) œ ( n œ ) œ œ œ œ œ œ (œ œ ) œ œ (œ œ ) œ
app nt nt nt dn
œ
dn dn
? b b 44 œ Œ Œ # œœ œœ Œ
YT: PmO3Wlono6w
Figure 10.6.3: Mozart, Piano Sonata K. 333, I
In the next section we discuss the anticipation.

b
& b b b 44 . j
œœ ˙˙ j
œœœ .. œ ˙ œœ .. œœœ ˙˙˙
10.7. ANTICIPATION œ. 99
?
bbb 4 4 j
10.7b Anticipation
œ. j œ ˙
œ ˙ œ.
An anticipation
A¯≤: vi is a non–chord
IV tone that anticipatesI the arrival
V of the next
2 chord and is often found at cadences, as in the next example.
E A Bsus4 B
œ œ œ
(E-G˜-B) (A-C˜-E) (B-E-F˜) (B-D˜-F˜)
? # # # # 44 w
14
˙ ˙
app
A
Œ œ
F˜m/A
w nt
B7(/A E/G˜ Amaj7 E/B B7 E
#
)
# 3 œ œ (œ) (œ) œ œ œ ‰ œ
& # # B¯≤/F
126 pt pt
4 J œ (œB¯≤
œ œ (œ) ˙ .
ant
3
F7 )
b 3# œ3. œ œ œ
(B¯≤-D-F) (F-A-C-E¯≤) li - (B¯≤-D-F)
&&b # #4# J œœ œœœ ‰ œj œ œ˙ œ œ

18 E che so -
126 esc spi - ri la - - ber - tà
4 œœ œœ Œ
( )
œ œ œœ ( ) œ (œ) ˙.
œ 7 œœ
home of the brave.
nt ant
? # #C# # 43 œ œ7 œ œ Fmaj ˙˙ ..
Œ Œ œ ˙.
(C-E-G) œ
Em
. . pt ptœ œ Vœ7./7th I/3rdœ. œ. œ( IV

œ .)M7 I/5th V7
4 Œ E:œ IVœ œiiœ/3rd
(E-G-B-D) (F-A-C-E)
œ œ w w
20 esc
&4 ≈ R
( ) ( )
I
YT: E6lV3nKg-nc
C
œ
4 œ ( œ œ) œ œ (# œ œ ) œ œ # œ œ œ
Figure 10.7.1: Handel, Rinaldo, “Lascia ch’io pianga”
(C-E-G)
24 dn
dn
&4
dn (
)
Here is an example of an anticipation in popular music.
G A Dm F
(G-B-D) (A-C˜-E) (D-F-A) (F-A-C)
4 j j ntœ j ant
ant
œ œ Ó ‰(# ntœ ) œ ( nantœ ) ˙ œ œ
& b 4 œj œ œ
ant
œ œ œ œ
25 pt pt
( ) ( )
œ ( ) ( )
( ) ( )
I know where you're com - ing from Call me on the line Call me
&b ∑ ∑ ∑
29
YT: StKVS0eI85I
Figure 10.7.2: Harry and Moroder, “Call Me”
Sometimes syncopation will lead to an anticipation of a note in a chord in

the following measure, as occurs at the ends of bars 1, 2, and 3 of the “Call
Me” example.
10.8 Pedal Point

A pedal point is a note that is held through changing harmonies, starting as
a chord tone before becoming a non–chord tone. Pedal points are often in the
bass voice (the term “pedal” relates to the foot pedals on an organ).
100 CHAPTER 10. NON–CHORD TONES 19
C7 F/C Dm7/C
(C-E-G-B¯≤) (F-A-C) (D-F-A-C)
& 44 ‰
281
‰ ‰ œœ œ
b œ œ œœ œ œ œœ œ œ œ œœœœ œ
≈ j ≈ j ≈ j
? 44 œ . œ œ. œ œ. œ ˙
˙ ˙ ˙ ˙
C pedal (in bass) starts as consonant note (in the chord)
G7 C
283 (G-B-D-F) (C-E-G)
& ‰ œ œ œ œ œ ( œ ) œ www
≈ ped.
j
pt.
? (œ .) (œ ) ˙) w
(˙ ) (˙ ) w
(
ped. pt.
pedal point (in bass) is now a non-chord tone
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑YT:∑ W4271Rm9TSU

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
285
Figure 10.8.1: Bach, J.S., Well–Tempered Clavier, Book I, Prelude 1 in C
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
major BWV 846
Here is an example from the Romantic era.

10.9. SUSPENSION 101
14
Gm D7 Fõ7 Gm
b
& b 68
130 (G-B¯-D) (D-F˜-A-C) (F˜-A-C-E¯) (G-B¯-D)
3-2 sus.
b j œ œ
ben legato.
& b 68 ‰ œœ
130
œ #(œœ ). œ ‰ #œ œ œ
œœ œ J
p
j
œ œœ .. œ œ œœ œœ
? b 6
b 8 œ˙ . œ
19
C7
( ) œ˙ .
( )
F/C 7/C
ped. pt. (bass note is stillDm
sounding)
(C-E-G-B¯≤) ped. pt.
(F-A-C) (D-F-A-C)
& 44 ‰
281
‰ ‰
g: i V7 (i) viio7 i
œ œ œ 7œ œ œ Fm7œ œ œ œ œ œ œ œ
œ bE¯œ œ œ œB¯m œ œ œ œœœœ
b ≈ 6j œ ≈ jœ ≈ j
& 44b b b 10.8.2:
? 8œ . œ ClaraœJSchumann,
œ . œ J œœNo.
(œ )
˙ œ . sich beide”
132
.. 2,œ “Sie liebten

inc. nt.
YT: jYgW5PhsQOE
Op. 13,
˙ da - - - re˙ - Por - - - ta ˙ Ros - - - -˙sa
Figure
The ClaraC œ œpedal œ as above

œ example (œ ) alsoœ .has a suspension
bb 7b b 6areœœ discussedœ in the œ . œœ .. (“3-2 sus.”);
132
œ
(in bass)
Schumann starts consonant note (in the chord)
&When
G a 8pedal point is in the bass, it( J
suspensions œis) not necessary
next section. œœ .. œ.
C œ . the inversion
J to specify
œ œ œœ œ œ œœ œ œ œ œw œ œ œ
283 of the (G-B-D-F)
chord because the bass pedal point (C-E-G)
inc. nt. obscures the inversion.
& ‰ œ œ œ œ œ œ œ
œ œ œœ (œœ ) œ ww≈
You might also encounter a pedal point in a higher voice, as well as a “double
? b b b 68 œ œ
b œœ œœ
pedal point,” where two notes (often a fifth apart) act as pedal points.
œ œ
10.9 ≈Suspension
j V
ped. pt.
? (œA¯: . (œ )
ii7 ˙ vi7 w
˙ ˙ w
) ( )
Suspensions are accented non–chord tones occurring on downbeats. A suspen-
sion is( approached
)
by the same (note
)
and resolves down by step. A suspension
is made ped. pt.a preparation, suspension, and resolution. Sometimes the prepa-
up of
ration is tied pedal
to thepoint
suspension.
(in bass) is now a non-chord tone
G C
(G-B-D) (C-E-G)
Preparation Suspension Resolution Prep. Sus. Res.
& 44 ˙˙˙ œ˙ ) œ ˙˙˙ œ˙ ) œ

285
(no tie)
˙ ˙
( (
?4 ˙ ˙ ˙ ˙
4
C: V I C: V I
10.9.1: Introductory Suspension example with and without tie

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure
287
&Suspensions are classified by numbers (9–8, 7–6, 4–3, 2–3, and sometimes
6–5) that specify the interval distance of the suspended note and its resolution
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& 44 ˙˙˙ œ˙ ) œ ˙˙˙ œ˙ ) œ
285
(no tie)
˙ ˙
( (

˙ ˙
? 44 ˙
to the bass note ˙
C: V I C: V I
G C Dm/F C/E C G C G/B F C

sus. sus. sus.
& ˙˙˙
œ˙ œ œœ
sus.
œœ œœ ) œ œœ
287 9 - 8 4 - 3 6 - 5
˙˙ œ˙ ) œ
7 - 6
˙ œ œ) œ œ œ œ œ ˙ ˙
( ) ( (
(
˙ œœ
?˙ œœ
œ
œ
œ ( œ) œ ˙ ˙
2 - 3
sus.
C: V I ii/3rd I/3rd I V I V/3rd IV I
Figure 10.9.2: Examples of the 9–8, 7–6, 4–3, 2–3, and 6–5 suspensions
20
D/F˜
# 4 œ
G D G D
œ
292
œ
pt
&In the4example (œ ) œ œ œ 4–3 suspension œœare (an ˙˙ and 10th

œ œ
above, the œ
notes in the œ œ ) 11th
higher than the bass. Reduce all intervals larger thanptan octave to the numbers
? # 44 œ ( œ ) œœ œœ (( œœ )) œœ œ ˙
pt
œ œ
( œ ) œ (œ ) œ
7–6, 4–3, and 6–5. pt
˙
œ example with a 4–3 suspension.
Here is an
pt pt
2-3
sus.
G: I V/3rd V I V
E¯≤m7 F
sus.
b
294
& b b b b 42 W ( œ ) n œ (œ ) œ œ (œ ) œ (œ )
4 - 3 pt pt nt
ww W
∑ w nWW
π
? b b b 42 ∑
bb w W
w W
F˜m G/B Em A7 D Em/G
sus. sus. 9 - 8
# # 3 œœ œFigure
œ ( œ˙ 10.9.3: œœ œœ œœ œœ œœ (œœ )œœ
7 - 6 ntYT: b8G9vRqq3RI
) œ œ œ œ œ œ œ œ œStrings
pt 7 - 6 nt
Adagio(œ )for
296
& 2 œ œ œ œ ˙ ˙ ()
( )
œ
( ) Barber, ( )
Œ ˙ ˙ nt Œ
? # # 32 œ œ œ ˙ Œ œ œ œ ˙ Œ œ œ œ ˙ Œ
Here isD:aniiiexample with
IV/3rd7–6 and V7
ii 9–8 suspensions.
I ii/3rd
#
& # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
300
? b b 4 ∑
bbb 2 w W
10.9. SUSPENSION w W 103
F˜m G/B Em A7 D Em/G

sus. sus. 9 - 8
# # 3 œœ œ œœ ( œ˙ ) œ (œ)œ œœ œ œ œ (œ )œ œ œœ œœ œœ œœ œœ (œœ )œœ

296 7 - 6 nt pt 7 - 6 nt
& 2 œ ˙ ˙ ()
Œ œ œ ˙
( )
( )
˙ nt Œ
? # # 32 œ œ œ ˙ Œ œ œ œ ˙ Œ œ œ œ ˙ Œ
D: iii IV/3rd ii V7 I ii/3rd
##
∑ 10.9.4:
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
300
& Figure
YT: HawWrnUGH_0
Handel, Suite No. 2 in D Major, HWV 349: II
? ## ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
The 2–3 suspension is the “bass suspension” and is measured against an

upper voice. Again, you may encounter the literal intervals 10–9 but should
label the suspension as 2–3.
20
D/F˜
# 4 œ
G D G D
œ
292
œ
pt
& 4 œ œœ ) œ œœ œ œœ ( œ ) ˙˙
(
œ
œœ (( œœ )) œœ œ ˙
pt
? # 44 œ ( œ ) œœ
pt
œ œ
( œ ) œ (œ ) œ
pt
˙
œ
pt pt
2-3
sus.
G: I V/3rd V I V
# ∑ ∑ ∑ ∑ ∑ YT: ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
294
&
VKNcvMcGlvI
Figure 10.9.5: Bach, J.S., Chorale 238, “Liebster Jesu, wir sind hier,” BWV
373
? # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
When a chord is inverted, you will sometimes encounter non-standard sus-

pension numbers like 5–4 or 3–2.
? # # 32 œ œ œ ˙ Œ œ œ œ ˙ Œ œ œ œ ˙ Œ
D: iii IV/3rd ii V7 I ii/3rd
C/G G7/F F G7/F

300 sus. sus.
& ˙˙˙ (œ )
5 - 4
œ
3 - 2
˙˙ ˙˙ œ) œ
˙
(
˙˙
? ˙ ˙ ˙ ˙
C: I/5th V7/7th C: IV V7/7th
Figure 10.9.6: Non–standard suspension numbers because of inverted chords
You will sometimes encounter decorations of suspensions where other notes

occur before the resolution, as in the following example.
23
D7/C Gm/B¯≤ A7
324
sus.
& b 43 # œœ (œ) ˙˙ œœ œ œœ (œ ) œœ (# œ ) œ (œ )
pt res. app
nt
#œ
( )
pt
? b 43 n œœ . (œ) # ˙(b œ ) œ œ œœ œ œ
ret.
œ œ œœ
J
( )
app
&b
327
YT: fTwkVsECg9w
Figure 10.9.7: Bach, J.S., French Suite No. 1 in D Minor, BWV 812, Sara-
?
bande
348The “ret.” in the tenor part in the second measure is a retardation, which
&b
is covered in the next section.
?
b
10.10 Retardation
A retardation is usually an accented non–chord tone, meaning it occurs on a

downbeat. A retardation is approached by the same note and resolves up by
step.
j
b ≈ œ œœ
&b c œœ ‰
?
œ bœ œ œ œ œ œ (# œ )œ œ œœ œœ œ
œ˙ œ ˙ app œ œ œ œœ œœ œ œ œœ
10.11. INCOMPLETE NEIGHBOR 105
G/B Am/C G/D D7 G
# 3 œ ( œ) œ ( # œ ) œ œ
app nt
..
304
& 4 ≈ œ (œœ) œ ( œ) œ ((œœ)) œ Œ

9 - 8 sus.
œ œ.
app ret.
app
œ œ œ œ œ œ œ œ œ œ œ (œ˙ ) œ
4 - 3 sus.
? # 43 œ œ œ œ œ Œ ..
G: I/3rd ii/3rd I/5th V7 I
#
YT: hSqwR_dsecg
& Figure 10.10.1:∑Mozart, Piano Sonata in C major,∑ K. 545, II

307
?# ∑ ∑
Classical composers like Mozart often used retardations and suspensions at

cadences in slow movements.
10.11 Incomplete Neighbor
Because composers are notorious for “breaking the rules,” you will encounter
examples in the real world that either defy explanation or have multiple valid
explanations. One “utility” non–chord tone is the incomplete neighbor.
b b 8 œ˙ . œ ( ) ( œ˙ .)
ped. pt. (bass note is still sounding)
ped. pt.
106 g: i V7 viio7NON–CHORD TONES
i CHAPTER 10. i
E¯≤ B¯≤m7 Fm7
b œ
& b b b 68 œ œ œ œ. œ.
132
inc. nt.
J J
( )
da - - - re - Por - - - ta Ros - - - - sa
œ œ œ œ
bb b b 6 œœœ œœ .. œœ ..
132
œ œ ( œ) œœ .. œœ ..
( )
& 8 J J
œ œ œ
inc. nt.
? b b b 68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ
b œ œ
A¯≤: V ii7 vi7
b
& b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑YT:∑ Sf-tjXevlyQ
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
134
b
& b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
134
? b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b
Figure 10.11.1: Puccini, Gianni Schicchi, “O mio babbino caro”
You may also find incomplete double neighbor figures, especially in late
Romantic music and jazz. Keep an open mind when analyzing music.
10.12 Adding Non–Chord Tones to a Chord Progression

Here are ideas for how to add non–chord tones (or “embellishments”) to the
melody or inner voice part of a chord progression:
1. Repeated note: add upper or lower neighbor
2. Step down:
(a) Add a suspension by delaying the resolution of the note

(b) Add an escape tone by moving by step in the opposite direction of
the original stepwise movement, then leap
(c) Add a double neighbor
(d) Add a chromatic passing tone
(e) Add an anticipation

21
21
3. Step up:
B¯≤7 Cm/B¯≤ B¯≤7 Cm/B¯≤ B¯≤ Aø7 B¯≤ Aø7 F7 B¯≤
B¯≤7 Cm/B¯≤ B¯≤7 Cm/B¯≤ B¯≤ Aø/B¯≤
7 B¯≤ Aø/B¯≤
7 F7/B¯≤ B¯≤
b 4 œ ®œ. Ÿœapp . Ÿapp j œ.

(a) Add retardation
app pt by delaying
app resolution of
/B¯≤the note
(œ ) œ pt (œ ) œ pt
/B¯≤ ret.
/B¯≤
(œ ) œ (œ ) œ ®œ œ (œ ) œ ≈ œœ .. œ œ́ ≈ œ . œret.
pt
& b b(b)44 Add œ́ œœj ‰ (œœ

302
Ÿ Ÿ
9-8
. œ œ . (œ ) œ (œ ) œ
J
& b 4 œJ ®œ œ
œ œ œ
( ) œ ®œ œ Rœ́ ≈ œ Rœ́ ≈œ ‰ œ ((œœœœ) )
302
a double neighbor
9-8
œsus.
)
R 3œ R
( )
(4 œ -)
( )
j
(c) Add a chromatic passing tone 9( ) -
≈
(8)
b(d)4 œ - (8)œœj
4 - 3 sus.
& b b 44 œ ( # œ ) œ œ ≈ œ œœ œ œ œœ œ ? œ œœœ ‰
?
9
bœ
œ œ b œ œœ œ œ˙ œ œ app
Add an anticipation
& b (e)4 œ˙ œ œ œ œœ œ œ œ œ œœ ‰
œ œ oneœ step
œan appoggiatura
œ œ by ( # œleaping œ beyond œ the note of reso-
œ˙ œ œ
˙ app œ œ œ œœ œœ œ œ œœ
Add )
lution, placing the appogiatura on the beat, displacing the note of
resolution to occur after the beat
G/B Am/C G/D D7 G
# 3 œœ (œ) œ (# œ ) œ œ
G/B Am/C G/D D7 nt
app G
4. Leap of 3rd:
..
304
≈ (œ) œ # œ œ œ œ . œ ( œ) œ œ œ œœ9 - œ8 sus. Œ

9 - 8 sus.
& #(a)43 Fill

app nt
œ œ . toneœ (œœœ) œ (( œ)) œ

aœ passing ..
304
& 4 ≈ inapp œœ œ Œ
( )
the 3rd( with
) (( ))
app (ret.
)
œ œ œ œ œ œ œ œ œœ œ œœ œ˙œ
appappoggiatura by leaping one step beyondret.
œ
(b) Add an 4the- note
3 sus. of reso-
? # 43 œ œ œ œ
app
œ œœ œ œ œœ œ Œ ..
4 - 3the
lution, placing the appogiatura on the beat, displacing sus. note of
? # 43 œ œ œ œ œ œ ˙
( )
œ œ Œ ..
resolution to occur after the beat ( )
5. Leaps
G: Iof
/3rd4th or larger:
ii/3rddo not embellish
I/5th (for
V7 now) I
Here is a basic framework with all possibilities labeled.
#
G D Em C
˙˙ 44 ˙˙
307
&#
G D Em C
˙˙ ˙˙ ˙˙
˙˙
307
& 4 ˙˙ ˙˙
step down step down repeated note
step down step down
step down repeated note
note
repeated
˙ ˙ ˙˙ ˙
?# 4 ˙ ˙˙ ˙˙
repeated note leap of 3rd
?# 4 ˙
step up
˙ ˙
repeated note
˙
leap of 3rd
4
step up step up
leap of 4th leap of 3rd
step up
G: I V vi IV
G: I V vi IV
Here is one possible solution:
G D Em C
# 4
309
œ˙ œ
G esc. D 4-3 sus
Em nt C
&# 4 ˙(œ ) œ œ˙4-3 sus œ (œnt) ˙˙

309
œ˙ œ
esc.
& 4 ˙(œ4-3) sus œ œ˙ œ (œ ) ˙˙

( )
( )
( )
( )
4-3 sus pt
œ œ œ (œ ) (œ )
app
œ ˙œ œ
nt
44 œ˙
pt
?# œ˙ œ (œ ) œ (œ ) (œ˙)
app
œ ˙œ œ
nt
?# ˙
( )
4 ˙ œ (œ ) ˙
( )
pt
G: I V vi pt IV
G: I V vi IV
Notice that, when non–chord tones are added to different voices on the same
beat, consonant intervals (3rds, 5ths, 6ths, or 8ves) are made. If consonant
intervals can’t be made, the voices are staggered rhythmically (as occurs on
beats 3 and 4 in measure one of the example above).
1. Fill in the blanks in the following

Non–Chord Tone Type Approached by Left by
same tone step up
table. leap in opposite direction
step step in same direction
leap
2. Analyze the harmonies with lead–sheet symbols above the staff and Ro-
man numerals below. Add the following non–chord tones: two suspen-
sions, one passing tone, and one appoggiatura. Do not add non–chord
22 tones to the bass.
b
Lead-sheet: _____ _____
& b 44 ˙˙
_____ _____
˙˙ ˙˙ ˙
311
˙
? b b 44 ˙ ˙ ˙ ˙
Rom. num.: _____ _____ _____ _____
b
& b 44
313
? b b 44
315
Lead-sheet: _____ _____
& b 44 ˙˙
_____ _____
˙ ˙˙ ˙˙
˙
? 4 ˙ ˙ ˙
b 4 ˙
3. Analyze the harmonies with lead–sheet symbols above the staff and Ro-
man numerals below, then analyze the non–chord tones.
(a) Holland—Dozier—Holland, “Stop! In the Name of Love” (YouTube)
16
j
_____ _____ _____ Fmaj7 _____
4 j
& 4 Œ œ ‰œ œ Œ (œ ) œ j
139
( œ .) œ ˙ œ ( œ .) œ ˙
Stop! in the name of love be - fore you break my heart
4 j j
& 4 Œ œœ ‰ œœ œœ œ .) œ ˙ Œ (œ ) œ j
139
œ œ œ œœ .. œœ ˙˙ œœ œœ œœœ œœ ..) œœ ˙˙
œ. œ ˙
(
(
? 44 œœ œœ œœ œœ œœ œœ œœ
œœ œœ œœ œœœ œœ œœ
(œ ) œ œ œœ
C: _____ _____ _____ ____ _____
15
∑ (YouTube)
∑ ∑ ∑ ∑ ∑ ∑ ∑
143
& Mai”
(b) Robert Schumann, Dichterliebe, Op. 48, 1. “Im wunderschönen
Monat
### 2
134
≈∑ œ
C˜7 Bm/D C˜7
& ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ Œ∑ ∑ ‰ R
143
&
? # # #∑ 2 ≈ œ∑ (œ .) œ ∑(œ ) ≈

Im
œ
∑ (œœ ) œ (∑) œ # œ∑
134
& 4 œ ∑ œ œ (œ∑) œ
#œ
? # # # 42 œ
œ #œ œ œ œ œ œJ œ
œ( ) œ œ œ
∑ ∑ ∑ ∑
151
&
f ˜: V _____ _____
∑ ∑ ∑_____ ∑
151
&
##
œ œ œR œr œr œ
Bm/D _____
& # ( œJ .) ≈ œ
137
‰
R R R
? ∑ ∑ ∑ ∑
( )
wun - - - der - schö - nen Mo - nat Mai, als
## œ
& # (œ ) œ œ œ œ œ (œ ) œ
137
( œ)
œœ
( œ .) œ œ
œ j
? ### œ œ ≈ œ œ œœ œ œJ œ
J ≈ œR
œ
A: _____ _____ _____

Chapter 11
Melodic Analysis
We will divide analysis of melodies into motives (which can be broken into
fragments) and phrases (which can be broken into subphrases) in order to
understand the construction of melodies. We will discuss periods and sentences
in another chapter.
11.1 Motive
A motive (or motif) is the smallest identifiable melodic idea in music. How-
ever, we will find times when it will be necessary to discuss a smaller fragment
(called a “germ” by some authors) from a motive.
In the following example from the first movement of Beethoven’s Symphony 21
No. 1, we find four motives within the first four measures of the primary theme.
œ. œ.
mot. 1 mot. 2 mot. 2 mot. 3 mot. 3 mot. 4
& C œœœœ ˙.
376
œ œ
œ. œ ˙. œ . œ œ. œ. œ. œ. œ. œ. œ. œ. œ. . .
ƒ S
mot. 1 (rhy. ch.)
‰ œj ‰ # œj œ œ œ
mot. 1
& 44 œ ‰ # œj œ œ YT:œ tFafjC-180E

382
Figure 11.1.1: Beethoven, Symphony No. 1, Op. 21, I, Motives in Primary

rhythmic
Theme change
(same)
mot. 1 mot. 1 (inv.)
384
& œ œ phrase œ œin order

œ œ
Later in the movement we find Beethoven extracting motives from this
four-measure to œ
develop them through sequences.
386 Here is development of motive 1.
& œ œ 111
œ œ œ œ œ
illustration of
mirror inversion
387
&
112 CHAPTER 11. MELODIC ANALYSIS
24
ww ww # ww ˙˙ # ˙˙
330
& wb ww ww ˙˙ ˙˙
w
p œ œ œœ œ
? Ó Œ œ bœ œ œ œ Œ Ó Ó Œ Œ Œ œœœœ
p cresc. cresc.
˙˙ ˙˙ b ˙˙ n ˙˙ ˙˙ # ˙˙
˙ b ˙ b ˙˙ ˙ ˙˙ ˙˙
& ˙ ˙
334
24 ˙
w œ b œ œww œ b œ # ww ˙˙ # ˙˙
330 cresc.
b
& w Œ Œ w ww w œ ˙ ˙ œœœœ
?
œ w Œ wŒ œ œ œ œ ˙Œ Œ˙
p œ œ œœ œ
? √Ó Œ œ b œ œ œ œ Œ Ó Ó Œ Œ Œ œœœœ
˙˙ # ˙˙ œœ
337
& ˙˙˙˙ pb ˙˙˙ ˙˙ ˙˙

cresc.
œœ
ƒ˙˙ ˙ œ
cresc.
˙˙ b ˙˙ n ˙˙ ˙˙ # ˙˙
b b œ œ bœ˙˙ ˙ ˙ ˙
& œ˙˙ Œ ˙˙ Œ
? œ ˙œ œ œ œ œ ˙ œ œ œ ˙ œ
334
œ œ
œ bƒœ œ œ b œ
cresc.
?
œ Œ Œ Œ Œ œœœœ œ Œ Œ œœœœ
340
& √
˙˙ No. 1, I, development
# ˙˙ œœ 1
337 YT: tFafjC-180E
˙˙ 11.1.2:b ˙˙Beethoven, Symphony

˙ ˙ œœ
& ˙˙ ˙˙ ˙
Figure of motive
˙
? ƒ œ bœ œ œ œ œ œ œ
?Hereœ is development
Œ Œ of motive œœ œœœœ œ
2
œ
ƒ
Œ bœ. œ bœ
Ó
340
& ∑ Œ bœ. œ bœ Œ Œ Ó
p
b˙. bœ. œ bœ Ó Œ bœ. œ bœ
? Œ Ó b œ œ bœ
Œ . Œ
344
& YT: tFafjC-180E
Figure 11.1.3: Beethoven, Symphony No. 1, I, development of motive 2
?
Here is development of motives 2 and 3 together.
11.1. MOTIVE 113 25
. . . . . . . .
˙. œ . # œ œ œ œ # œ œ œ œ œ œœ b Œ˙ Ó œ ∑
& ˙˙ .. œœ b ˙˙ œœ
Œ ∑ # œœ ˙˙ œœ œ #˙ œ
f .
#˙ p pœ. .
344
? #˙. Œ ∑ Œ œ Œ #œ Œ œ Œ
. . . . . . . .
˙. œ . # œ œ œ œ # œ œ œ œ œ œœ b Œ˙ Ó œ œ b ˙ ∑
348
˙ œœ
& ˙˙ ... Œ ∑ # œœ ˙˙ œœ œœ # ˙˙ œ
f p p. .
œ
? ˙. Œ ∑ Œ œ Œ #œ Œ œ Œ
#˙.
∑ ∑ ∑ ∑
352
&
YT: tFafjC-180E
Figure 11.1.4: Beethoven, Symphony No. 1, I, development of motives 2 and

3
? ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑
356
&
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑
363
&
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
The previous excerpt leads directly into the next, which features develop-
ment of motive 4.
f p p
œ
? ˙. Œ ∑ Œ œ Œ #œ Œ œ Œ
114 # ˙ . CHAPTER 11. MELODIC ANALYSIS
.
. . œ. œ ˙.
352
w bœ
& b ˙˙
∑ œ bœ œ œ bœ
˙˙ b ˙˙ ˙˙ b ˙˙ ˙˙ b œœ œ œ œ
˙ ˙ ˙ ˙ ˙ ˙ @ @ @ @
@ @ @ @ @ @ . . . .
.
p . œ . . œ. œ œ œ bœ nœ
? œ bœ œ œ œ Œ Ó œ bœ œ bœ
œ bœ
œ. b œ. œ. ∑ œ
.
. . œ. œ w ˙. bœ
356
bœ Œ Ó œ bœ œ œ bœ
& b ˙˙˙ ˙˙ b ˙˙ ˙˙ b ˙˙ ˙˙ b œœ œ œ œ
˙ ˙ ˙ ˙ ˙ @ @ @. @.
@ @ @ @ @ @ . . .
. œ. œ. œ . . œ. œ œ œ bœ nœ
? œ b œ œ œ Œ Ó œ bœ œ bœ bœ
œ. b œ œ ∑
œ
YT: tFafjC-180E
In the next section, we will look at some of the various ways one can alter a
melody
Figure 11.1.5: Beethoven, Symphony No. 1, I, development of motive 4
11.2 Melodic Alteration
While there are more than a dozen ways to alter a melody, we will focus on
seven methods of basic melodic alteration at this point of the text.
11.2.1 Inversion
Inversion as applied to a music means an idea is exactly upside-down or

“mirrored” across a horizontal plane, like mountains reflected in a lake.
First, listen to the following example.

26 11.2. MELODIC ALTERATION 115
m m
œœœœœœœœœ œ œ œ
360
& c ≈ œ œ œ œ
œœœœœœ
?c Ó ≈ œ œ œ œ œ œ œ œ Œ ≈ œ
œ
œœœœœœœœœœœœœœœœ œœœœœœœœœœœ
362
& œ # œ œ œ œ21
œ œ
? œ œ œ œ œ œ œ
œ #œ œ œ
œ œ
œ. œ.
mot. 1 mot. 2 mot. 2 mot. 3 mot. 3 mot. 4
& C œœœœ ˙.
376
œ œ
œ . œ ˙ . œ . œ œ. œ. œ. œ. œ. œ. œ. œ. œ. . .
ƒ ∑ ∑S YT: E8EvUmq0Zao
& ∑ ∑ ∑ ∑ ∑ ∑
364
mot. 1 Bach, Invention No. 1 in mot.

Figure 11.2.1: C Major,
1 (rhy. BWV
ch.) 772
&?44 œ∑ ‰ ∑# œj œ ∑ œ œ ∑ ‰ ∑œj ‰ ∑# œj œ ∑ œ œ ∑

382
The first seven notes in measure 1 arerhythmic

inverted in measure 3, shown in the
following example. change
(same)
& ∑ ∑ ∑ ∑ œ œ ∑œ ∑ ∑
372
œ œ œ œ
384
&
386 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
& œ œ œ œ œ œ œ
illustration of
387
inversion
& ∑ ∑& ∑ ∑ ∑ ∑ ∑
379
?
11.2.2: Melodic inversion in Invention No. 1 in C Major by J.S. Bach
∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure
388
&
Melodic inversion can be real (where every interval is exactly the same qual-
ity) or tonal (where the intervals abide by the scale or key). For the majority
of this text, we will encounter tonal inversion until we discuss techniques of
20th-
413 and 21st-century music in the final chapters of this text.
&
11.2.2 Intervallic Change
Intervallic change is less exact than inversion. With intervallic change, the
rhythm is generally intact and the motive relates to a previous iteration, but
some of the intervals are different.
b 4C(C-E-G)
j j j œnt j œantœant Ó ‰(# œnt) œ n œ ant ˙
ant
œ
& 4 œ œ œ œ œ œ dnœ œ œ œ
25 pt pt
œCHAPTER œ (#11.
œ œ
œ onMELODIC
( ) ( )
œ comœ (- # œing from œ

( )
116 4 œ œ ) you're
( )
( ) dn
œ
24 ( ) ( )
&4
dn )
) ANALYSIS
I know where
( Call me the line Call me
mot. 1 mot. 1 (int. ch.)
b G jœ ‰ œj œ œ œ œ(F-A-C)
P4
V b b 44(G-B-D)
m3
œ œ œ ˙.
œ (A-C˜-E) Ó ˙.
29
A Dm F
(D-F-A)
4 The ver - y thoughtj of you

j œnt j œantœant Ó and
‰(# œ I) œfor( n œ- )get ˙to doœ œ
ant
b j
25 pt pt nt ant
( ) ( )
( ) ( )
( ) ( )
b
V b b ∑Figurem311.2.3:
∑ Noble,∑“The Very ∑Thoughtmot.of1∑You” ∑
33
YT: k0c7Cmc_iA8
mot. 1 (int. ch.)
b j ‰ œj œ œ œ œ ˙ .
P4
V b b 44 œ œ œ œ œ ˙ . Ó
29
The next example has two intervals changed, one of which includes a change
in contour. The ver - y thought of you and I for - get to do
26
# #c# # ≈Œ ‰ œ œ m3œ ↓ œ œœ Œmœ Ó œ Œœ ‰ n œœ œ œœ œœ n œœ Œmœ Ó œ

360 mot. 1 mot. 1 (int. ch.)
33
M2↑
V& œ œ œJ œ œ
œ œ œJ œ œ œ œ
?c Ó
I'm not in love
œ œ œ œ
so don't for - get
œ œ
it
œœœœœ
≈ œ œ œ œ Œ ≈
œ
œ œFigure œ œ œ œStewart
œ œ œ œ11.2.4:
YT: STugQ0X1NoI
œ œ œ œandœ œGouldman,
362
œ œ œ œ “I’mœ œNot
œ œ œ œ œ #œ œ œ œ
& œ
In Love”
œ œ œandœ Diminution
? œ œ œ œ œ œ #œ œ œ œ œ
11.2.3 Augmentation
Augmentation usually refers to an exact doubling of the duration of every
rhythmic value in a motive or phrase.
364
œ œ œœœœœ œ œœœ
mot. 1 inv. mot. 1 inv. mot. 1 inv. mot. 1 inv.
œœœœœ œœœœœœœœœœœœ œœœ

mot. 1
& ≈ œ œ œ œ œ œ œ #œ
œ œ œ œ œ œ œ œ œ œ
frag. a frag. a aug. frag. a aug. frag. a aug. & ext.
? ∑ œ #œ œ œ œ
& ∑11.2.5:
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
367
YT: E8EvUmq0Zao
Figure Augmentation of fragment “a” in Invention No. 1 by J.S. Bach
?We will
∑ discuss
∑ extension
∑ ∑ and∑fragmentation
∑ ∑ of motives
∑ ∑ later∑in this∑ chapter.
∑
Diminution is the opposite of augmentation and usually refers to the
exact halving of the duration of every rhythmic value in a motive or phrase.
However, diminution can also refer to the use of shorter rhythmic values, as in
the
379 following example.
& ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
Score
11.2. MELODIC ALTERATION 117
mot. 1
U U
w.
w. bU
w. U
? 6 w. w. w. w.
4 bw. w. w. ∑ ∑
ƒ (Trumpets & Trombones) mot. 1 (dim.)
?6 Ó ˙ b ˙ ˙˙ w .
2
∑ ∑ ∑ ∑ ˙. œ Œ Œ
2
4 ˙ b˙
ƒ (Tubas) w. ˙. œ
mot. 1 (dim.)
?6 ∑ ∑ ∑ ∑ ∑ ∑ Ó. bœ œ œ œ
4
ƒ 4
(Timpani)
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
8
YT: aDFGmiXnLjU
Figure 11.2.6: Diminution of the first four notes in “Uranus” from The Plan-
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
8
ets by Holst
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
8
21
11.2.4 Rhythmic Change
?376 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ. ∑ œ.
15 mot. 1 mot. 2 mot. 2 mot. 3 mot. 3 mot. 4
& C œœœœ ˙. œ
Similar to the inexact nature of intervallic change, label a motive as having
œ. œ ˙. œ . œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. .
rhythmic change when some but not all rhythmic values of the motive are
ƒ S
varied.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
15
mot. 1 (rhy. ch.)

j ‰ j
mot. 1
4 ‰ ∑# œj œ ∑œ œ
382
? ∑ ∑ & 4 ∑œ ∑ ‰ œ ∑ # œ œ∑ œ œ ∑

15
rhythmic
change
(same)
384
& YT: vCadcBR95oU

Figure 11.2.7: Azor and Davies, “Push It”
392
&
Imagine the effect if there had been no rhythmic change and the first mea-
sure was merely repeated.
399
In the next example, from Beethoven’s “Pathétique” sonata, motive 1 has
&
dotted rhythms during the introduction of the piece.
406
&
œ œ œ œ œ œ
? œ œ œ∑ œ œ œ œ œ œ œœ œ œ œ œ œ œœ œœ œœ œ œœ # œœ œœ œ œ
362
118&
œ œ œ œ œ #œ œ œ œ
CHAPTER 11. MELODIC œANALYSIS
œ œ œ œ œ œ
? œ œ œ œ #œ œ œ œ
mot. 1 œ
b j‰
367
mot. 1
& b b c œ œ . œ œ . œœ œœ œj ‰ œ . œ œ œ
nœ. nœ œ n œœœ œœœ ... œœœ œœ .. œœ œœ œœ
Í Íœ mot.
364
œ œ œ œ œ K œ . œ
œ œ . œœ œ .œ œ # œœ œœ œ≈œ. œ œr œ œ œ œ œ œ œ œœ œ. œœ œœœ œ œ ≈œ . œœ
mot. 1 mot. 1 inv. mot. 1 inv. 1 inv. mot. 1 inv.
?
& b≈b œb œcœ œœœœœ œ œœœœ ... œ œ . œ J œ œJ# œ œ RÔ
œœ œœ ..
? ∑ œ #œ œ œ œ
b
& b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
369
YT: SrcOcKYQX3c
mot. 1
? b b b c ∑ ∑ œ œ∑ . œ œ ∑. œ œ ∑ œj ‰ ∑
367
Figure 11.2.8: Beethoven,
mot. Pathétique
1 Sonata, Op. 13, I, Introduction
& ∑ ∑ ∑ j ∑‰
œ œ . œ n œœ .. œœ n œœœ œœ n œœ œœ .. œœ œœ .. œœ œœ œœ
Í Íœ œ . œ
?In the œ œ . œ œ . œ # œ œ K
r œ.
the rhythm œof œmotive
b b b development
c œœ œœ .. œsection,
œ œ .
œ . œ Beethoven
J ≈ .changes
œ
œ 1≈then
J
.œ
RÔ
abbreviates it œin œ
œ œ ..
the following measure when it is sequenced up a step.
mot. 1 (rhy. ch.)

œ
œ Œ œ Œ Œ œ # œ´ œ´ ˙ # œ Œ Œ # œ´ œ´ œ´ œ´
mot. 1 (rhy. ch.) (abbrev.)
& C œ ˙ œ œ œ
369
œ œ #œ #œ #œ
f p ÿ
? C œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ b œ œœ œœ œœ
œ
œ œ
YT: SrcOcKYQX3c
Figure 11.2.9: Beethoven, Pathétique Sonata, Op. 13, I, development section
11.2.5 Ornamentation
Ornamentation means the notes in a motive can be ornamented or embel-

lished with passing tones, neighbor tones, and the other non-chords tones we
studied in the previous chapter.
Here is an example of the ornamentation of a 4-note motive.

#œ œ bœ œ œ bœ œ #œ
7
& 44
388
11.3. FRAGMENT 21
119
# ## 4
mot. 1 mot. 1 (orn.) mot. 1 (orn. & ext.)
& # # mot.
397
4 1 œ œ . œmot.
. Œ 2 mot. 2 mot. œ
œ œ
3 Œ mot. 3 mot. 4n œ .
œ
œ œ œ œœœ ‹ œ . n œ œ œ. œ. œ œ œ. œ..
n
& C œœœœ . œ
376
. . nt . .
˙ . œ œ.nt
œ. œ ˙ œ . œ œ. œ. œ. œ. œ. œ. œ. œ. œ. .
nt
#### ƒ S
#
400
& YT: s6fPN5aQVDI mot. 1 (rhy. ch.)
‰ œj ‰ # œj œ œ œ
mot. 1
& 44 œ ‰ # œj œ œ œ
382
Figure 11.2.10: Wonder, “Sir Duke”
rhythmic
change
11.2.6 Extension (same)
Extension of a motive
mot. 1needs little explanation: additional
mot. 1material
(inv.) is added to
384 the end of a motive upon its repetition or reoccurrence at a later point in a
&
piece.
Refer to the “Sir Duke” example directly above and to the final measure of
the J.S. Bach Invention in C Major example in the section on augmentation.
386
11.2.7 Retrograde
œ it œis worth œ
œ œ retrograde,
illustration of
œ œmentioning
387
inversion
exact reversing of the&
While rare in tonal music, which is an
order of notes, as can be seen in the following example
from popular music.
#œ œ bœ œ bœ œ #œ
mot. 1 mot. 1 (ret.)
œ 7
& 44
388
397
&
YT: ECVbVwEzY2E
Figure 11.2.11: Melodic Retrograde in “Toxic” by Dennis, Karlsson,
Winnberg, Jonback
We will not consider transposition of a motive (also know as a sequence)

to be a motivic alteration worth labeling since it is so common.
11.3 Fragment
While the motive is usually defined as the smallest identifiable melodic idea in
a composition, “compound” motives can be broken into fragments (sometimes
called “germs”).
In J.S. Bach’s Invention 1 in C Major I, the opening 7-note compound
motive can be divided into two overlapping four-note fragments that can each
be developed independently.
# #
& # # c œm œ . œ. Œ œ œ œ œ mœœ Œ œ
n œ œ n œ . œ.
360
c ≈ œ
œ œ œ œ œœ œœ œ œ ‹ œ . œ œ œ .
& œ œ œ œ. œ œ nt n œ œ . . nt
120 œœœœœœœ CHAPTER. 11. nt
MELODIC ANALYSIS . .
?c Ó ≈ œ œ œ œ œ œ Œ ≈ œ œœœœœœ
400 œ mot. 1 œ œ
mot. 2
& c ≈ œ œ œ œ œ œ œ œ œ œ œ
œœœœœœœœœœœœœœœœ œœœœ œœœœœ
362
& frag. a frag. b œ œ œ #œ œ œ œ

œ œ œ œ œ
? œ œ œ œ
œ #œ œ œ œ
œ
Figure 11.3.1: Fragmentation of motive 1 in C Major Invention
Here again is the example of development (in augmentation) of fragment

“a.”
364
œ œ œœœœœ œ œœœ
mot. 1 inv. mot. 1 inv. mot. 1 inv. mot. 1 inv.
œœœœœ œœœœœœœœœœœœ œœœ

mot. 1
& ≈ œ œ œ œ œ œ œ #œ
? ∑ œ #œ œ œ œ
& ∑ Figure
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
367
YT: E8EvUmq0Zao
11.3.2: Development of fragment “a” in Invention 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
In the following example Bach develops an inversion of fragment “b” leading ∑ ∑ ∑ ∑ ∑
into a cadence in G major. 27
m
frag. a inv. frag. b inv. frag. b inv. frag. b inv.
œ
& c œ∑ œ œ # œ œ∑ œ œ œ ∑œ œ œ œ œ∑œ œ œ œ∑ œ œœ œ ∑œ œ œj ∑‰
374
379
&
?c œ œ #œ œ œ œ.
frag. a aug. & ext.
? ∑ œ∑ œ ∑œ ∑ ∑ œ œ ∑ ≈ ∑œ œ

œ
œ
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
377
& YT: E8EvUmq0Zao

Figure 11.3.3: Development of fragment “b” in Invention 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
11.4 Phrase
Musical form is full of sections, and the phrase is the smallest category of
∑ ∑ ∑ ∑ ∑ ∑ ∑
385
&
section. Unlike a motive, a phrase gives the sense of completing a formal unit.
In classical music, phrases always end with cadences; if you have encoun-
tered a cadence, you have just witnessed the completion of a phrase. In popular
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
392
11.4. PHRASE 121
music, a phrase might be completed by a melody reaching four measures in

length or by completing a line of lyric instead of by a cadence.
To generalize (or perhaps over-generalize), most of the phrases you en-

counter will be four measures in length and will end with one of the four
cadence types (authentic cadence, half cadence, deceptive cadence, and, less
commonly, the plagal cadence). While four- and eight-measure phrases are the
most common, you will also encounter phrases that are five, six, and seven
measures in length. Less commonly, you will encounter three-measure phrases.
Here are examples of four-measure phrases. Notice that these phrases have
a sense of completion even though they do not end with cadences.
3
phrase “a”
pickup
notes C F C F
œ . œ.
V 44 J ≈ œJ œ œ œ . œ œ œ . œ œ œ œ œ œ . œ w Ó Œ ‰œ œ
37
I've got sun - shine on a cloud - y day when it's

C: I IV I IV
3
phrase “a”
b ˙
V b b pickup œ œ œ œj YT: nz80onuEhHEœ .phrase
œ œ“a”œ œ œ ˙ . ∑
42
C
notes Figure
œ F.
11.4.1: Robinson and White,C “My Girl”
F
4 œ ≈ œ . œ . œ œ œ . œ œ œ . œ œ œ œ œ œ . œ w Ó Œ ‰œ œ
37 I'm ev - 'ry wo - man it's all in me
46V 4 J J
b
V b bI've got∑ sun-shine∑ ∑ on a cloud∑ - y day
∑ ∑ when∑ it's
C: I IV I IV
phrase “a”
b
& b b 44 ˙∑ œ œ ∑œ œj ∑ œ . œ œ œ∑ œ œ ˙ .∑
Fm
∑∑
42 53
V
œ.
I'm ev - 'ry wo - man it's all in me
E¯≤: ii
b
Vbb ∑ ∑ ∑ ∑ ∑ ∑
59
b
&bb ∑ ∑ ∑ ∑ ∑ ∑ ∑
46
YT: vNAq7Cv34l4
Figure 11.4.2: Ashford and Simpson, “I’m Every Woman”
b
V b b ∑ ∑ ∑ ∑ ∑ ∑
65
b b b is an∑ example of∑ a five-measure

∑ phrase.∑ Notice that ∑ the final∑chord
53
&Here
b of a half cadence or deceptive cadence,
(a
71 minor iv chord, which will be discussed in the chapter on mode mixture)
V b b especially considering its relation ∑ toyetthethephrases

is part phrase has a feeling of
completion, before and after
b
& b b ∑ ∑ ∑ ∑ ∑ ∑
it.
59
b
&bb ∑ ∑ ∑ ∑ ∑ ∑
65
b
& b b 44 ˙ œ œ œ œj œ. œ œ œ œ œ ˙. ∑
œ.
122 I'm ev - 'ry wo - man CHAPTER
it's all in 11. me
MELODIC ANALYSIS
E¯≤: ii
phrase “a”
B¯≤ F
b 4
&b 4 ‰œ œ œ œ œ œ œ œ
46
You must not know 'bout me You must not know - 'bout me I can have an -
B¯≤: I V
(phrase “a” continued)
b œ œ œ‰œ œ œ œ‰
48
Cm E¯≤m
&b œ œ œ œ œ œœ. œ.
œ œ bœ œ œ œ œ œ œ œ œœ œ
oth - er you by to - mor - row So don't ev - er for a sec - ond get to think - ing you're ir - re - place - a - ble
ii iv
b
51
&b ∑ ∑ ∑ ∑
YT: 2EwViQxSJJQ
∑ ∑ ∑ ∑
Figure 11.4.3: Smith, Eriksen, Hermansen, Lind, Bjørklund, Knowles, “Irre-
placeable”
b
27
&b ∑ ∑ ∑ ∑ ∑ ∑
59
m
frag. a inv. frag. b inv. frag. b inv. frag. b inv.
œ œ œ œ œ j
& c œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰
374
b b is an∑ example a∑aug. & ext. ∑ phrase that

∑ ∑ ∑
65
&
Here frag.of a six-measure ends with a V7 - i cadence
?c œ œ
œ œ œ œ #œ œ œ. œœ ≈ œ œ
in G minor.
œ œ
phrase “a”
D/F˜ G7/F C/E E¯≤7 Gm/D D7 Cõ7 Gm/D D7 Gm
œ œ ˙œ œ œ
œœ œ œ
b b 3 œ n ˙œ œ # œœ œœ œœ œœ # œ œœ n ˙œ˙ . Œ œ œ œœ œ œœ #œœœ œœ œœ Œ
œ œ
377
& 4 .
p
# œ n œ n œ b œ œ œ. œ. # œ œ œ œœ œ œ œ œ
? b 3
b 4 œ œœ œ #œ œ œ Œ
Œ Œ œ Œ Œ œ
b
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑
384
YT: PbwJhFGUiFc
Figure 11.4.4: Mozart, Symphony No. 40, K. 550, III
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑
b
&b ∑ ∑
391
Here is an example of an 8-measure phrase.
? bb ∑ ∑
#œ nœ nœ bœ œ œ. œ. #œ œ œ œœ œ œ œ œ
? b 3
b 4 œ œ œ œ #œ œ œ Œ
11.5. SUBPHRASE Œ Œ œ Œ Œ œ 123
phrase “a”
œ œœ œ
Aõ7/G G
œ.
G D7/A G C/G
# 3
384
œœ œ œ œ. œ œ# œ œ . œ
& 4 ˙ œ Œ œ Œ
p
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ# œ œ œ œ œ œ œ œ œ œ œ
?# 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4
not a cadence
(phrase “a” continued)
D7/A G Em G/B C C/E G/D D
# œ. œ œ œœ œœ œ œ
œœ œ œ œ œ. œ Œ # œ n œ œ œ œ œ .œ œ œ œ # œ n œ œ
388
&
œ œ œœœ œ œœœ œ œ œœœ œ œ œ œ
?# œ œ œ œ œœ œ œ ˙ œ œ˙ œ Œ œ œ
œ ˙
I/5th V
half cadence
YT: 1vDxlnJVvW8
Figure 11.4.5: Mozart, Piano Sonata in C Major, K. 545, II
Examples of seven-measure phrases are rare and often involve elisions,

which will be covered in a later chapter when we discuss how phrases are
combined to create small forms like periods and phrase groups.
11.5 Subphrase
Subphrases are smaller than phrases but larger than motives. Most of the
subphrases we encounter will be two measures long. Subphrases are called
“phrase segments” and “phrase members” in other texts.
We will label subphrases with letters (a, b, etc.). When a subphrase repeats
but has slight alterations, we will put an apostrophe after the letter (e.g., a’ )
and refer to it as “a prime.” If another alteration to subphrase a occurs, we
will label it as a” and refer to it as “a double prime.” If the subphrase is merely
transposed (in a sequence), we will label it as a, not a’ in our analysis.
We are including analysis of subphrases in this text because many compo-
sitions have melodic units that are two measures long. Analyzing subphrases
helps us understand the construction of melodies.
In the following example, notice that subphrases a and a’ have the same
4 4 4
first six notes (G –F –B–C –E–E).
œ œ œ œ œ
Stran - gers wait - ing up and down the bou - le - vard Their
E: IV I
Phrase: a
55 subphrase a subphrase a'
#### 4 Œ Œ j
& 4 œ œ j œœ œ œ œ œ œ œ œ j œœ œ œ œ œ œ Œ
j Œ Œ
3 3 3 3 3 3 3
œ œ œ
Don't stop think - ing a-bout to - mor-row Don't stop it - 'll soon be here
YT: OvSbZEYlfnM
phrase “a”
pickup Figure 11.5.1: C. McVie, “Don’t Stop”
notes C F C F
44 œJ ≈ œ . œ . œ œ œ . œ œ œ . œ œ œ œ œ œ . œ w Ó Œ a‰ œandœb.
37
VHere J example of a four-measure phrase with subphrases

is an
I've got sun-shine on a cloud - y day when it's
Phrase: a
4 C: I subphrase a IV I IV b
subphrase
œ . œ ˙D¯≤ Fmœ œ œ œ
phrase “a”
Fmœ œ
œ œ œ œ ∑ ˙
Fm E¯≤ E¯≤ D¯≤
? bb 4 Œ œ œ œ œ j J œ. Œ
& b b 444 ˙
59
œ œ œ œ œ œ œ œ œ ˙.
42
œ.
Par - ty rock is in the house to - night Ev - 'ry - bod - y just have a good time
I'm ev - 'ry wo - man it's all in me
f: i VII VI i VII VI
E¯≤: ii
? b b b B¯≤∑
phrase “a”
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
63
b b4
F
b 4 ‰ œ œ œ œSkyler
46
&Figure œ œ Gordy
œ œ and œ œ “Party
œ Gordy, œ œ Rock
œ œAnthem”
œ œ œ
YT: KQ6zr6kCPj8
11.5.2: Stefan
You must not know 'bout me You must not know - 'bout me I can have an -
B¯≤: I V
Notice that we are not looking at the motives within these subphrases. This
is because(phrase
we are“a” continued)
looking for melodic segments that are repeated. For some
bb œ œ motives
48
compositions
Cm it is more informative E¯≤mto look at subphrases and less informative
œ ‰ œ œ œif motives
œ œ andœ developed.
œœ. œ.
& There will be times when ‰ œ œ b œ not œ œœœ œ œ œ œ œœ œ
œ œ happening
to identify are extracted
you will notice important melodic ideas
at threeothlevels oftoanalysis
- er you by - mor - row So (motive,
don't ev - ersubphrase, and
for a sec -ond get phrase),
to think - ing asyou're
in their - re-following
place - a - ble
example.ii iv
Phrase: a
subphrase a subphrase b
#### 4 j
51
& 4 œ . œj Ó œ. œ Ó Ó œ œ œ œ œ œœ œ œ
Stran - gers wait - ing up and down the bou - le - vard Their
E: IV I
Phrase: a
YT: 1k8craCGpgs
55 subphrase a subphrase a'
# ## 4
& # 4 œ Œ œ Œ j œ œ œ œ œj œ œ œ Œ œ Œ j œ œ œ œjœ œ œ Œ
Figure 11.5.3:
3
Perry,
3
Cain,
3
Schon, “Don’t Stop
3 3
Believin”
3 3
’
œ œ œ
Don't stop think - ing a -bout to - mor-row Don't stop it - 'll soon be here
E: I IV I IV
4 œ (œ œ) œ œ dn œ
œ œ # œ œ) œ œ
(# œ
24 dn
&4
dn (
)
There is
G ambiguity between motive
A and subphrase.
Dm Reconsider the
F following
example from the
(G-B-D) section on intervallic
(A-C˜-E) change: (D-F-A) (F-A-C)
4 j j œnt j œantœant Ó ‰(# œnt) œ n œ ant ˙

œ œ
ant
b j œ œ œ œ
25 pt pt
& 4 œ œ œ œ ( ) ( )
( ) ( )
( )
( ) ( )
mot. 1 mot. 1 (int. ch.)
b j ‰ œj œ œ œ œ ˙ .
P4
V b b 44 œ œ œ œ
m3
œ ˙. Ó
29
The ver - y thought of you and I for - get to do
b
Vbb ∑ ∑ ∑ ∑ ∑ ∑
33
YT: k0c7Cmc_iA8
Figure 11.5.4: Noble, “The Very Thought of You”
When you listen to the music of “The Very Through of You” you will hear
that each motive lasts for two measures. The difference is that motives are
typically short—two to seven notes—whereas subphrases will usually contain
six or more notes and occupy two measures (half of a four-measure phrase).
Day One:
____ ____ ____ ____
# 4 ˙ œ œ (œ ) œ (œ) œ (œ ) ˙ . œ œ
& 4 œ œ œ 11. MELODICŒ ANALYSIS
(œ ) œ
143
( )
126 CHAPTER
143
# 4
Take my hand
1. For the following examples:I'm a stran - ger in par - a - dise All lost in a
&• Analyze
4 ww motives using
ww numbers (1, 2,ww etc.) ww
w w w w
?• #Label ˙ symbols
4 lead-sheet ˙ ˙ ˙
and Roman numerals when blanks are
4 ˙ ˙ ˙
˙
provided
• Label non-chord ____

____ tones for notes in ____
parentheses ____
(Note: Even though there are 11 blanks for motives, there are only
six motives in this example due to motivic alteration.)
Motives:
b 4 j œ. œ. œ. œ œœ
& b 4 œ (œ) œ . œ œ œ (œ ) œ .(œ)œ œ œ œ(œ)œ (œ) (œ) (œ) (œ) (œ) œ . œ œ (œ)œ ˙
147
Ah Ah Ooh
b 4
__ __ __
j
__ __
j
__ __
j
__ __
j
147
Lead-sheet:
& b 4 œœ œœ .. œœ ˙˙ œœ .. œœ ˙˙ œœ .. œœ ˙˙ œœ .. œœ ˙˙
œ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙
? b 4 j j j j
b 4 œ œ. œ ˙ œ ˙ œ. œ ˙ œ ˙
œ. œ.
B¯≤: __ __ __ __ __ __ __ __ __
YT: RgKAFK5djSk
Figure 11.6.1: Franks, Puth, Thomaz, “See You Again”

#
& C œ (œ ) œ. (œ)œ # œ (œ) œ
. œ (# œ )# œ œ.(n œ)n œ .
. .
?# C œ œ œ
( )œ œ œ œ œ œ
œ œ œ (œ) œ œ
œ œ œ œ. œ. œ œ œ œ œ
( )
.
( )
œ . the
. example, alter . givenœ. . motives œ
. . . . . . J
2. For the following as specified. Also,
28 provide lead-sheet symbols and Roman numerals and analyze non-
e:
chord tones. __ __ __ __ __
# C___
393
Motives:
& œ
___ ___ ___ ___
œ (1œ ) . (œ)œ # œ. (œ) œ œ (# œ )# œ œ.(n œ)n 2œ aug.
Lead sheet:
398
2 1 aug.
œ .
Motives: 1 2 inv.
œ
& c œ (œ)œ(œ)œ œ (œ)( )œ œ œ œ. œ .
œ (œ)(œ) œ œ
?# C œ (œ )œ (œ) œ
œ œ œw
? c www œ œ œ. . . .ww œ. œ. œ. œww. œ w œ œ˙ œ œ˙˙ œ œ
. . ˙˙. . .˙ . J
e: __ __ __ __ __
C: ___ ___ ___ ___ ___
3. For
402 the following example:
Lead sheet: ___ ___ ___ ___ ___
&• Write 1the lead-sheet

398
Motives: 2 1 aug. 2 aug. 1 2 inv.
œ (œ)(œ)œ œ
symbols
&• cWrite œ
œ( ) œ
the œ
(œ) chords as whole œ notes in œthe bass clefœ staff
? ∑ww non-chord
?• cAnalyze ∑ ∑tones, ∑ ∑wwwthe ones
www including ∑ you ∑ ˙˙ ∑
˙˙ write
w ˙ ˙
• Alter the given motives as specified to fit the harmony
C: ___ ___ ___ ___ ___
410• Specify the cadence
&
Lead sheet: ___ ___ ___ ___
b
Motives: 1 1 int. ch. 1 inv. 1 inv.
& b c∑ œ œ (œ∑) ˙ œ

402
? œ∑ ∑ ∑ ∑œ ∑
? bb c
g: i iv i V7
Cadence: ____________
b
&b
406
? bb
Day Two:
4. For the following example:

• Analyze the motives using numbers (1, 2, etc.), noting motivic
alterations when applicable
• Analyze subphrases using letters and primes (a, a’, b, etc.)
• Label lead-sheet symbols and Roman numerals when blanks are

provided
• Label non-chord tones for notes in parentheses
22
Lead-sheet: ___ ___ ___ ___ ___ ___ ___ ___
Subphrases:
# œ (œ)œ œ
Motives:
œ œ
& 42 J (# œ) œ . J œ . J œ . œJ œ œ œ (œ) œ œ (œ) œ # œ . (œj) œ .
401
Í
e: i iv i iio V i iv V
410
#
& YT: Dbb_VGJXaSU
Figure 11.6.2: Robert Schumann, Album for the Young, Op. 68,
No. 16, “First Loss”
Click here to download the first assignment for this chapter.

Click here to download the second assignment for this chapter.
Click here to download the Unit 2 Practice Test.
Chapter 12
Form in Popular Music
The overall form of a piece of popular music usually can be broken down into
smaller 4–, 8–, 12–, or 16–bar sections. The material in this chapter is informed
by John Covach’s essay “Form in Rock Music” from Engaging Music: Essays
in Music Analysis (ed. D. Stein).
12.1 Verse–Chorus Form

The Verse–Chorus form is arguably the most common musical form of
present day popular music and is probably familiar to most readers of this
text. In Verse–Chorus form, the chorus contains the “hook,” the memorable
refrain, while the verse typically contains less memorable melodic material. A
clear example can be found in the 1985 song “We Are the World.”
0:00–0:26 Introduction, 6 bars
0:26–0:53 Verse 1, 8 bars

0:53–1:18 Verse 2, 8 bars
1:18–1:49 Chorus, 9 bars
1:49–2:14 Verse 3, 8 bars

2:41–3:08 Bridge, 8 bars

3:35–4:02 Chorus, 8 bars ending with key change
4:02–end Chorus, 7 times in F major with fade out
Table 12.1.1: Jackson and Richie, “We Are The World”
YT: 9AjkUyX0rVw
Common additions to the Verse–Chorus form, beside the bridge, are the
pre–chorus and post–chorus.
129
130 CHAPTER 12. FORM IN POPULAR MUSIC

0:25–0:42 Verse 1, 8 bars
0:42–0:58 Pre–chorus, 8 bars
1:23–1:31 Post–chorus, 4 bars
1:31–1:39 Interlude, 4 bars

1:39–1:56 Verse 2, 8 bars
2:37–2:45 Post–chorus, 4 bars
2:45–3:02 Guitar solo, 8 bars
3:02–3:10 Interlude, 4 bars

3:10–3:26 Verse 3, 8 bars
Table 12.1.2: Cobain, Novoselic, and Grohl, “Smells Like Teen Spirit”
YT: hTWKbfoikeg
It is worth noting that there may disagreement about labeling sections in

a form. One person may call a section a “pre–chorus,” another may call it a
“first chorus,” while another may call it “verse part b.” There is ambiguity in
naming sections and disagreement is to be expected.
There are “simple” and “contrasting” verse–chorus forms. A simple verse–chorus

form has the same harmonic progression for the verse and chorus (e.g., “All
About That Bass”). The chord progressions for the verse and chorus are dif-
ferent in a contrasting verse–chorus form like “We Are the World.”
12.2 AABA Form
The AABA form is associated with the hits of the musicals of the 1930s and
remained one of the most popular forms of popular music until the 1950s, when
Rock ‘n’ Roll became popular. Each section (A or B) is typically 8 measures
long. The A sections contain the primary melody we associate with the song
while the B section provides contrast and is often called the “bridge” or “middle
eight.”
12.3. ABAC FORM 131
0:10–0:18 A section (A1), 8 bars

0:26–0:35 B section, 8 bars
0:35–0:45 A section (A3), 10 bars
0:45–0:53 A section, 8 bars (instrumental shout chorus)

0:53–1:02 Introduction, 8 bars (shout chorus continues)

1:35–1:54 Coda, 12 bars
Table 12.2.1: Gershwin, “I Got Rhythm”
YT: Q_jKTPsh54Y
It is common for one or more of the A sections to be instrumental, and it

is also common to eliminate an A section on the repeat of the entire AABA
form (AABAABA, for example).
Other well known songs with AABA form include Over the Rainbow from
The Wizard of Oz as well as many famous songs from the Great American
Songbook by George Gershwin (“Let’s Call the Whole Thing Off,” “Someone
to Watch Over Me”), Cole Porter (“Anything Goes,” “Love for Sale,” “I Get
A Kick Out of You”), Irving Berlin (“Blue Skies,” “Puttin’ on the Ritz”), and
Jerome Kern (“The Way You Look Tonight,” “Smoke Gets In Your Eyes”).
The AABA form continued to be dominant into the 1960s (including Beatles
songs like “Yesterday,” “Norwegian Wood,” and “Hey Jude,” to name a few).
The AABA form is less common in the present day but can be found in songs
like The Cure’s “Friday, I’m in Love” (1992) and Norah Jones’s “Don’t Know
Why” (1999).
A note on terminology: the entire 32–bar AABA form is sometimes called
a “refrain” or “chorus,” and some AABA songs are preceded by a “verse.” This
means a song like “Someone To Watch Over Me” begins with a verse and is
followed by a “refrain” (which could also be called a “chorus”). Other synony-
mous terms you may encounter for “verse” in the context of AABA form are
“prelude” and “introduction.”
12.3 ABAC Form

Many popular songs from the 1930s–1950s were in the 32–bar ABAC form.
Well–known examples include “White Christmas,” “Someday My Prince Will
Come,” and “When I Fall In Love.”
“Star Dust” is an example of an ABAC form that is usually performed with
a verse preceding the refrain.

0:13–1:13 Verse, 16 bars (8 bars + 8 bars)
1:13–1:41 A section, 8 bars

2:07–2:32 A section, 8 bars
2:32–2:57 C section, 8 bars
2:57–3:12 Coda, 4 bars
Table 12.3.1: Carmichael, “Star Dust”
YT: hWkoFj14HkE
The ABAC form may also occur as ABAB’ where the B’ section begins the
same as the B section but ends differently.
12.4 The 12–Bar Blues

Associated with the Blues genre, which originated in the early 1900s, the
12–bar blues was also popular during the Swing Era of the 1930s and 1940s,
(examples include “In The Mood” and “One O’Clock Jump”), as well as during
the early years of Rock ‘n’ Roll in the 1950s (“Johnny B. Goode,” “Hound Dog,”
“Rock around the Clock”). The basic 12–bar blues progression is shown below.
Bars 1–4: I I I I
Bars 5–8: IV IV I I
Bars 9–12: V IV I I
Table 12.4.1: Berry, “Johnny B. Goode”
YT: ZFo8-JqzSCM
12.5 Harmonically Closed and Open Sections

A harmonically closed section ends on the tonic chord ( I ). A harmonically
open section typically ends on a non–tonic chord like V , but could also end
on IV .
In an AABA form, the A sections are usually harmonically closed, ending
on I , and the B section (or bridge) is usually harmonically open, ending on V .
In verse–chorus form, sections that leads into the chorus (verse, pre–chorus,
and bridge) are usually harmonically open, while choruses can be harmonically
closed or open.
If you compose a piece in AABA or verse–chorus form, placing harmonically
open and closed sections appropriately is important to the flow of the music.
For example, the verse and bridge on “We Are the World” are harmonically
open (end on V ) while the chorus is harmonically closed (ends on the tonic
chord, I ).

1. For each song, fill in the beginning time for each section, label each section
type (verse, pre–chorus, chorus, post–chorus, interlude, introduction, A,
B, or C section, etc.), and the number of bars in each section of the form.
Time: : Section Type: , bars

(a) Time: : Section Type: , bars
Table 12.6.1: Bahler, “She’s Out of My Life”
YT:
6DQJPL9Yuq0
(b)
Table 12.6.2: Lennon–McCartney, “Penny Lane”
YT:
S-rB0pHI9fU
Click here to download the homework assignment for this chapter.

Chapter 13
Phrases in Combination
35
13.1 The Perfect Authentic Cadence

& w
478
bw
We will now distinguish between two types of authentic ( V – I ) cadences: the
Perfect Authentic Cadence (PAC) and the Imperfect Authentic Cadence (IAC).
The Perfect Authentic Cadence must meet three requirements:
? w
1. V – I
2. Both chords in root position

w
3. Tonic scale degree (1̂ ) in the highest voice of the tonic chord
1̂ in highest voice
& ˙˙ ˙˙
479
˙˙ ˙
? ˙
C: V I
both V & I are in root position
If at least one of these requirements is not met (one or both of the chords
are inverted, tonic is not in the highest voice, or vii◦ occurs in place of V ),
the cadence is an Imperfect Authentic Cadence (IAC).
∑ ∑ ∑ ∑ ∑ A sentence
∑ ∑ in∑ music∑ is ∑a phrase
∑ with
∑ a ∑specific∑ melodic
∑ ∑construction:
∑
13.2 The Sentence
a melodic
idea (motive 1 or subphrase a) is either repeated or sequenced then followed
by either related or unrelated material leading to a cadence.
In this first example, Mozart sequences motive 1 from measure 1 up a step
in measure 2. Measure 3 contains related material and measure 4 contains
cadential material.
135
∑ ∑ ∑ ∑ ∑ ∑
136 CHAPTER 13. PHRASES IN COMBINATION
36
related material 35
## œ œ œ . œ œ œ œ œ œj œ œ œ œœ œ œœ œj
& # 68 œ . œ œ
mot. 1 mot. 1 frag. b frag. b
489
J J J J œ
p frag. a frag. b frag. a frag. b
j j j j j j
œ œ œ œœ œœ œ œ œœ œœ œ œ œ œ œ
? ### 6 œ . œ J œ. œ œ J œ œJ œ œJ œ œ œ .
8 J
A: I I/3rd V/3rd V7/5th vi7 V/3rd I ii/3rd I/5th V
Half Cadence
1̂ in highest voice
& ˙˙ j ˙˙
479 phrase a
493
# # # œ . œ œ œ œ œ . YT: œ œ œ œJ œ œ œ œ œ œœ œ œœ œœ
j
& Figure 13.2.1: J Sentence
vp_h649sZ9A
Structure in Mozart, JK. 331, ˙ IJ
˙˙
p j j j j? j j
œœ œ œœ œœ œœ œ œ œ œœ œœ œ œ œ œ œœ˙
?In #the# next. example, Beethoven
J œ . œchangesJ theœintervals
C: œ V
œ ofœsubphrase I œ œ.
# to fit the dominant harmony. He extractsJ motiveJ 2 from subphrases
a in mea-
& I are in rootJ position

sures 3–4
a and a’ in measures 5–6. Measures 7–8 lead to aboth halfV cadence.
I/5th V
(HC)
j.
phrase a'
# # # œ . œ œ œ œ œ. . j
œœ œ . œœ œ œœ œ œ.‰
subphrase a
œœ.œ œ œ n œœœ. œ
subphrase a'
b . œ œ œ
œ œ. n œœœ œ
.
& b b b C œ œ. œ. Jœ
497
&
480
J Œ Jœ. œ œ œœ Œ
j j j3 j j
œ pœ œ œœmot. 1œœ œ œmot.œœ2 œœ œ œ œmot. 1
3
œ œ œœ Jœœœ œœœœ œœ œ œ Œ n œœœœj œœœœ‰œœœœ

? #b b# #b C. Œ
? J œ. n œJœœ Œ ÓœJ
mot. 2
b ∑ Œœ œ œ
f: i V7/3rd V7 I
related material
(PAC)
œ . œ œ n œ œ. œ . œ œ œ œ. ˙˙˙ œ œœœ
mot. 2 mot. 2
bb œ œ UŒ
485
&bb œ
j
Œ œ
j
Œ ˙ nœ œ œ
S 3
S 3
ƒœ œœ p œ
n œœ œœ œœ
? b b Œ œœœ œœœ œœœ
Œ œ œ œ
œœ
Œ Œ
œ œU
Œ Œ
bb
i viio/3rd i/3rd iio/3rd V
Half Cadence
YT: G8yuCJGWS20
Figure 13.2.2: Sentence Structure in Beethoven, Op. 2, No. 1, I
In the next example, unrelated material follows subphrase a and its repe-
tition.
& b œœ Œ œœ œœ œœ œœ œœ œœ ..
œ ‰ 137
13.3. THE PERIOD (PAC)
I V I
b œ œ œ. œ. œ œ œ. œ. œ. œ. œ. œ. n œ œ œ œ
subphrase a
&b c
510
Í Í Í
b
& b c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
œ œ œ œ
B ¯≤: V7/3rd I/3rd
. .
œ œ . . œ œ . . œ. œ. œ œœ nn œœ œœ œœ œœ
subphrase a
bb œ œ œœ œœ œ œ œœ œœ œ œ œ
512
&
Í Í Í
bb
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
V7/3rd I/3rd (not a strong cadence)
b˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ
new phrase
b ˙ b˙ œ
514
˙
unrelated material
&b ˙ ˙ ‰ ‰
˙
p
? b b ‰ œ œ œ ‰ œ n œ œ ‰# œ n œ œ ‰ œ œ œ Œ œ œ ˙˙ ˙˙
& b œœ ˙
ii/3rd I/5th V7 I
(HC)
YT: PmO3Wlono6w
Figure 13.2.3: Sentence Structure in Mozart, K. 333, I
13.3 The Period

In music, a period consists of at least two phrases with the final phrase ending
in a more conclusive cadence than the first phrase.
13.3.1 Conclusiveness of Cadence

Because period form involves “more conclusive” and “less conclusive” cadences,
it is important to distinguish between inconclusive and conclusive cadences.
Conclusive cadences end on the tonic chord, while inconclusive cadences do
not.
Inconclusive Cadences Conclusive Cadences

Deceptive Cadence ( V – vi ) Authentic Cadence ( V – I )
Half Cadence (ends on V ) Plagal Cadence ( IV – I )
In addition, the perfect authentic cadence (PAC) is more conclusive than
the imperfect authentic cadence (IAC). While the plagal cadence (PC) occurs
less frequently than the other three cadences listed in the table above, it will
sometimes occur in root position at the end of a phrase after an inverted
imperfect authentic cadence (IAC) has concluded a previous phrase, with the
understanding that a root position PC could be considered more conclusive
than an inverted IAC.
36
Generally, a period will either contain a phrase
related ending
material in a half cadence
## œ œ œ . œ œ œ œ œ œj œ œ œ œœ œ œœ œj
& # 68 œ . œ œ
489
(HC) followed by amot.
phrase
1 ending in
mot.an
1' authentic
frag.cadence
b frag. b (IAC or PAC), or
J J œ
it will contain a phrase ending in an IAC following by a phrase ending in a
PAC. J J
p frag. a frag. b frag. a frag. b
j j j j j j
œ œ œ œœ œœ œ œ œœ œœ œ œ œ œ œ
13.3.2 68 œ . œ of the
? # # #Examples . œ œ Conclusive–More
J œ“Less J œ œJ œ œJ œConclusive”
œ œ. Cadential Formu
J
In the first A:
example,
I aI/HC
3rd
concludes
V/3rd the
V7/first
5th
phrase
vi7 and a PAC
V/3rd I concludes
ii/3rd I/5th the
V
second phrase, making a period.
Half Cadence
phrase a
## œ œ œ œJ œ . œ œ œ œ œ œj œ j
& # œ. œ œ œœ œ œœ œœ
493
J J J
p j j j j j j
œ œ œ œ œJ œ . œ œ œ œ œ œ œœ
œ œ œ œ œ œ œ œ œ œ œœ
? ### œ . J œ œ œ.
J J J
I/5th V
(HC)
### œ . œ œ œ œ œ . œ œ œ œ j
œœ œœ œœj œ ‰
phrase a'
J œ œJ œ
497
& J œ œ œ œœ
j j j j j
œœ œ œœ œœ œœ œ œ œ œœ œœ œ œ œœ
? ### . J œ. œ J œ œJ œ œ jœ ‰
J œ
V7 I
###
(PAC)
501
&
YT: vp_h649sZ9A
? ### ∑ ∑ ∑ ∑ ∑ ∑ ∑
Here is a formal diagram of the above example.

b bb œ œ œ œ j
bœ œ œ œ œ
13.3. THE PERIOD V7 I 139
(PAC)
a a'
HC PAC
Figure 13.3.2: Diagram of Mozart, K. 331, I, mm. 1-8
Notice that one or more phrases within a period can be a sentence, as in

the example above, since sentences are phrases with specific melodic structure.
In the next example, the first phrase concludes with an IAC and the second
phrase concludes with a PAC.
37
phrase a
œ œ œœœœ œ œ œ œ œ œ œ œ œ œœ œœ œœ3̂
2
& b 4 œJ œ œ œ œ
501
& b 42 ‰ œœ Œ œœ œœ œœ œœ œ œ œ œ œ
œ œ œ œ œœ
F: I V I
(IAC)
œœœœœœœœ œ
phrase a'
œœœœ œœ œœ œœ
œœ œ ‰ ..
1̂
&b
506
& b œœ Œ œœ œœ œœ œœ œœ œœ œ ‰ ..
I V I
(PAC)
&b
510
YT: hmu-6FJT5Bw
?b ∑ ∑ ∑ ∑ ∑
Figure 13.3.3: Haydn, Piano Sonata in F Major, Hob. XVI:9 , III. Scherzo
∑ ∑ ∑
In the next example, the first phrase ends with an IAC and is followed by
a second phrase ending with a PAC.
38 phrase a
3 œ # œ œ # œ œ œ n œ œ œj ≈ œ œ ≈ œ ≈ œ #œ
518
œ
3̂
&8 œœ J œ # œ J œ
π
? 38 ‰ ∑ œœ œ #œ ≈ ‰ œœ
œ ≈‰ œ œ ≈‰
a: i V i
(IAC)
phrase a'
œ #œ œ œ nœ œ j ≈ ≈ œ œ œ
œ œJ
523 1̂
& œ
œ œ œ
? ∑ œ œ ≈ ‰ œ #œ ≈ ‰ œ œ ≈
œ œ œ
i V i
(PAC)
phrase a = "antecedent"
### 6 œ . œ œ œ œ œ . œœ œ œ œ œj œ œ œ œœ œ œœ œœj
YT: GwcyH-aWUc8
527
& 8 J J J J
p j j j j j j
œœ œ œœ œœ œœ œ œ œ œœ
œ œœ œ œ œ œ œœ
? # # # 68 . J œ. J œ œJ œ œJ œ œ.
J
HC
(less conclusive)
j
phrase a' = "consequent"
531
### œ . œ œ œ œ œ. œ œ œ œ œ œ œ œœ œœ œœj œ ‰
& J J J œ œ œ œœ
j j j j j
? ### . J œ. œ J œ œJ œ œ j ‰
J œ œ
PAC
(more conclusive)
Figure 13.3.4: Beethoven, Bagatelle in A minor, WoO 59, “Für Elise”
Another example with a less conclusive cadence followed by a more conclu-

sive cadence is “Lean on Me” by Bill Withers.
? 38 ‰ ∑ œ œ ≈ ‰ œ # œ ≈ ‰ œ œ ≈ ‰
œ œ œ
13.3. THE PERIOD 141
a: i V i
(IAC)
phrase a'
œ # œ œ Figure
n œ j
YT: fOZ-MySzAac
œ œ œ ≈ œ œ œJ ≈ œ œ œ œ
523 1̂
& 13.3.5: “Lean
œ
on Me” by Bill Withers
œ
? Antecedents andœ Consequents
∑ œ #œ
≈ ‰ ≈ ‰ œ œ ≈
œ œ
13.3.3
œ
In a period, the phrase ending with the less conclusive cadence is called the
“antecedent” and the phrase ending with the more conclusive cadence is called
i be thought of asVbeing in a “question and
the “consequent.” These can i answer”
(PAC)
relationship.
phrase a = "antecedent"
527
### 6 œ . œ œ œ œ œ . œœ œ œ œ œj œ œ œ œœ œ œœ œœj
& 8 J J J J
p j j j j j j
œœ œ œœ œœ œœ œ œ œ œœ
œ œœ œ œ œ œ œœ
? # # # 68 . J œ. J œ œJ œ œJ œ œ.
J
HC
(less conclusive)
### œ . œ œ œ j
œœ œœj œ ‰
phrase a' = "consequent"
531
œ œ. œ œ œ œ œ œ œ œœ
& J J J œ œ œ œœ
j j j j j
? ### . J œ. œ J œ œJ œ œ j ‰
J œ œ
PAC
(more conclusive)
YT: vp_h649sZ9A
Figure 13.3.6: Antecedent and Consequent in Mozart, Piano Sonata K. 331,
I
13.3.4 Parallel and Contrasting Periods

Periods are labeled as “parallel” or “contrasting” based on the melodic material.
In a parallel period, the melodies in both phrases begin similarly. In a
contrasting period, the phrases begin differently.
The three preceding examples are parallel periods
The apostrophe mark (’) is called “prime” and is used to show a phrase is
similar to a previous phrase but ends with a different cadence. Therefore a’ is
called “a prime” and a” is called “a double prime.” If you are analyzing a piece
that requires triple and quadruple primes, it is clearer to use a1 , a2 , a3 , and

so on.
Below is an example of a contrasting period.
39
phrase a
j œ œ j
œœ œ œœ œ œœ . œ œ œœ œœ œœ œ œ n œ œ œœ .œ œ œ œ œnœœ œ
? b b b 42 œ œ œ œ œ œ œ œ œ œ
535
b
p 39
? b b b 42 œ œ œ œ
b œ œ phrase œa œ œ œ
A¯≤:
j œ n œœ œ . j
V
œ . œ œ nœ
(HC)
œ œ œ
? b b b 42 œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œphrase
œ œb œ œ œ œ œ œ œ œ œ œ œ œ
535
b . . ..
p œ œ œ œ . œ b œ b œœ œ nœ œ œ œ b œ œ œœ ...
œ œ œ œ œ œ œ œ œ œ œœœ œ œœ œ œ œ œ œ œ œ
539 1̂
? b b b 4? œ œ
2 b b b b œ œ œœœ œ
b œ œ œ œ œ œ
?¯≤:
3
bbbb œ œ œ j
A V
bœ œ œ
œ œ œ
(HC)
phrase b V7 I
. . ..
(PAC)
œ œ œ œ œ bœ bœ œ
. œ œ œ œnœœ œ œ œ œ œ œ œ b œœ œœ œœ œ œ œ œ. œ. œ.
œ œ œ
539 1̂
? b b b 543?œ œ œ œ œ œ œ œ
b bbbb
YT: SrcOcKYQX3c
? b b bFigure 13.3.7:
3
b II ? œ Beethoven,œ Piano Sonata in C minor, Op. 13, (Pathétique),

j
b œ b b b b ∑ ∑ ∑ ∑ œ ∑ œ ∑ œ∑ ∑ œ ∑ œ œ∑
V7 I
(PAC)
? bb b
553
b
a b
HC PAC
? bb b ∑ ∑ ∑ ∑ ∑ ∑
b
Figure 13.3.8: Formal diagram of the example above (2nd movement of
Beethoven Pathétique sonata)
13.3.5 Repeated Phrase

If you encounter a section consisting of the same phrase occurring twice, call
it a “repeated phrase.”
40
13.4. THE ASYMMETRICAL PERIOD 143
phrase a
# # # 2 œf . œ œœ œ œ œ j 3
œœ œ œ œ œ œ œœ œœ œ œ œœ œ œ . œœœ ... œœœ
œ œ
3
& 4 œ . œ œ . œ œœ œœœ
543 1̂
œœœ #œ
f 39
? ### 2 ‰ Œ
f
‰ œ . œ œ œ a œœ œ œ œ œœ .. œœ .. œœ
œ œ phrase œ
4 J J œ
f j œ œ E: Vœ7. I j
œ œ . œ œ œ œœ n œ nœ
? bb b 24 œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œphrase
œ œaœ œ œ œ œ (PAC)
œœœœœœœ
535
b
#p# # œœ œ œ œ j 3
œ œ œ
548
œ œ œ
3
œœ œ œ œ œ œœ œ
1̂
? bb b &
42 œ œ œ . œ œœœ œœ œœ œœ œ œ œœ œœ œœ # œœœœ œœœ .. œ
.
b
A¯≤: # œœ œ œ œ œ
? ## œ œ œ . œ œ œœ œ œJ œœ œ œ (HC) œ. œ œ œ œ
V
phrase b E: V7 I
. . ..
(PAC)
œ #œ # œ œ œ b œ b œ œ œ . . œ.
. œ œ nœ œ b œ œ œ
539 1̂
? b b b &œ # œ œ œ œ œ œ œ œ œ œ
œ œ œ œœ œ œœ œ œ œ
œ œ œ œ œ
552
b YT: Qy8NLd7d6VE
? b b Figure
3
b“Little # # ∑œ Wanderer”

b ? #Morning ∑ ∑ ∑œ ∑ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ∑ j ∑
13.3.9: Robert Schumann, Album for the Young, Op. 68, No. 17,
bœ œ œ
œ œ
V7 I
##
(PAC)
& #
566
a a
? ###
PAC PAC
∑ ∑ ∑ ∑ ∑ ∑
Figure 13.3.10: Formal diagram of the example above (“Little Morning Wan-
derer”)
In following two sections, we will examine periods containing more than

two phrases.
13.4 The Asymmetrical Period

Asymmetrical periods consist of three or five phrases. In an asymmetrical
period, there will be an unequal number of antecedents and consequents, hence
the “asymmetry.” In the example below, there is one antecedent and two
consequents.
41
phrase a
b nœ.
& b b c œœ œœ œœ .. œœ œ œœ b œœ œœ .. b œœ n œ n œ œ . œ b œœ œœ œœ # œœœ n œ n œœœ
552
œ œ œ
ƒ
? b c œœ œ n œœ œœ œœ œœ b œœœ œœœ nn œœœ b n œœœœ œœ œ # œœ n œœ
bb œ œ œœ œ œ œœ n œœ œ œ œ
œ œœ œœ œœ b œ
bœ œ œ
V
(HC)
phrase b
b œ œ œ œ œ
& b b œœ œœ œ œ .# œ œœ œœœ # œœœ n œœœ ... n œœ n œœœ
œœ b œ œ .
556
œ b œœ œœ œ œœœ b œœ b œœ œ . n œ œ
p œ
? b b œ œ nn œœ bb œœ n œ bœ œ nœ œ œ nœ œœ œœ n œœœ œœ
ritenuto
b nœ bœ œ nœ œ œ œ
œ œ œ nœ œ œ bœ œ
bœ œ œ
V7 i
phrase b (PAC)
b œœ U
& b b œœ œœ œœ œ . # œ œœœ œœ # œœ n œœ .. n œ œ œœ b œ œ . œ ww
560
œ œœ œ . œ n œœ œ b œœ œœ œœœ b œœ b œœ œ . n œ œ ww
π
? b b œ œœ nn œœ bb œœ nœ bœ œ nœ œ œ œœ œœ n œœœ œœ U
w
cresc.
b nœ bœ œ nœ œ œ nœ œ œ œ w
œ nœ œ œ bœ œ œ
bœ œ
V7 i
(PAC)
YT: UPptFNwQppA
Figure 13.4.1: Chopin, Prelude Op. 28, No. 20, in C minor

13.5. THE DOUBLE PERIOD 145
13.5 The Double Period
The Double Period. A double period consists of at least 4 phrases and is

comprised of an antecedent group and a consequent group. The first two
phrases in a double period are the antecedent group and the final two phrases
are the consequent group, which ends with a cadence that “answers” the less
conclusive cadence (or “question”) that ended the antecedent group.
The melodic scheme of abab’ (four phrases) is commonly encountered in a

double period. A double period with this melodic scheme would be described as
a “parallel double period” because both the antecedent group and consequent
group begin with the same melody.
phrase a
Tn
42 phrase a
T T
42
j
phrase a
b bbb b bb T jj Tn œ . œ
42
44222 œœ T nn œœjj
phrase a
œœœ ... œœœ œœœ Tnn œœœ .. bb œœ œœ œœœ ...
42
œœœ ... nnn œœœjj
565
& b T
bb b bb bb
565
& 442 œœœ œœ . bb œœ œ œœ .. nn œœj

565
&
& b œœ . œ œœœ . nœ œœ
565
œ œ œ ..
pppœ
œœ œœ œœ œœ œœœ ...
? bb b 22 pœœœ œœœœ œœœ ... œœ œ œ œœ
?
? b bb 4 ‰‰‰ œœ .. ‰‰‰
? bb bb bb bb A4422¯: œœ œœœ œœ .. ‰ œ œ œ œ. ‰
bb 4 œ A¯: œ œ. V
V
A¯: (HC)
V
(HC)
A¯: V
(HC)
phrase b
phrase b (HC)
ŸŸŸ
phrase b
œ œœœ œœ œœ œœ œœ
phrase b
b bbb bb bb œ .. œ œœœ ...... œœœ ggg œœœ œœœ ... œ œœŸnœ œœ œœ œœ œœ œœ œœ œœ3œœ
3
œœœ ...... œœœ œœœ ...... œœ œœœœ

3
& b œ œœ œœ œœ œœœ œ
569
œœœ œœ œœnnœœ œœ œœ œœ ‰œ‰œ œœ œœ œœ œœ

3
& bbbb œœœ ..

œ ggg œœ
569
œœœ .. œœ .
& b bb
& œ œœcresc. œ œœ œœ
569
œœ gÍ œ
œ œ nœ ‰‰
569
œ Í œ
œœcresc. œœœ gggÍ Í œœœ œœœ œœœ œœ œœœ ... jj
œœœ œœœ œœœjj ‰‰
cresc.
? b bb b
? œœœcresc. ggg œœœ œœ œœ œœ œœœ .
? bb œœ œœ œ JœœJœ
? bbb bb bb bb œ œœ
œ œ g œœ œ œ œ œ JJ
‰‰
b VV
V
(HC)
(HC)
phrase aa V
phrase a T
phrase (HC)
T a Tn
(HC)
b b bb œ T jjphrase Tn
b b
& bbb b œ T œ.
T œœ .. œœœ œœœ ... nn œœj œ Tnn
œ b œœœ ... œœ œœœœ ŒŒŒ
573
b
573
& b b b b œ œ nn œœj œœ b œ . œœ
573
&
& b b p œœœ œœ . œ œœ .. œœ Œ
œœ œœ œœ b œœ œœ œœ œœ
573
p œ . œ œœ œ œœ œ
œœ œœ nnn œœœ œœœ œœœ œœœ œœœ bbœœ
? b bb b pp œœ œœ œœ œœ œœ œœ
? œœ œ œ œœ œ œ œ œœœ œœ œœ œœ œœ œœ œœ œœ œ bb œœ
bb œ
? bbb bb bb bb œœ œœ œœ œœ œœœ œœ œœ œœ
? œœœ œœ œœ œœ œœ œ œœ œ œ œ œœ œ n œ œ œ œ
b œ œ œ œ V
V
V
(HC)
(HC)
V
phrase b'
phrase b' (HC)
(HC)
phrase b'
b bbb bb bb œ .. œ œœ ... œœ œ œ œ j
phrase b'
œœ .... œœ œœjj œœœ ...... œœ nn œœœ œœœœ bb œœœ œœœ œœ œœœ œœ œ œ œ œ œœœjjj‰‰
577
& b œœ .
577
& b b b bb
j
œœ ....
j
œœ œ œ œ œ œ ‰‰
577
œj
&
œj
œœ œjj œ nn œ œ bb œœ œœ œ
&bb
œj
577
œœ œ œœ œœ œœ JœJœ
œj
SS pp
œj œj
œ œ œ
SS ppœ œ œJ
œ œœ œ œ œœ œ nn œœ bb œœ œœ œœ œœ œœ œ Jjj
? b bb b œ
œ œ œœ ≈≈ œœœ ..œœœ œœœ nnn œœœ œœ œœœ œœ œœ . œœjj‰‰
? bb ≈≈ œœ œœ œœ ≈≈ œœ œœœ œœ œœ nn œœ bb œœ œœ œœ œœ œœ œœ œœ . œœ ‰
? bb bb bb bb
? ≈≈ ≈≈ œ œ
œ
≈≈ JJœœœ .œ œ n œœ œ
JJ .
œœ œ œ œœ .. ‰
bb
V77 (PAC)
V (PAC) II
V77 (PAC) I
antecedent group
group consequent V
group (PAC) I
antecedent consequent group
antecedent group consequent group
aaantecedent group
bb aa
consequent group b'
b'
a b a b'
a HC
HC b HC
HC a HC
HC PAC
b' PAC
HC YT: VlfL9LWtCls
HC HC PAC
HC HC HC PAC
œ œ œ œ œ nœ bœ œ œ œ œ œ œ
? bb b ≈ œ œ ≈œ œœ œ œ
≈ œ. œœ n œ œ œ œ‰
b ##
? J œ.
# ∑ ∑ ∑ ∑ ∑ ∑
13.5. THE DOUBLE PERIOD 147
V7 (PAC) I
###
686
&
a b a b'
HC HC HC PAC
? ### ∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure 13.5.2: Formal diagram of a double period (Beethoven, Op. 10, No.
∑ ∑ ∑ ∑ ∑ ∑
1, II)
699
###
&
A double period will typically have one of the following cadential schemes:
? ### ∑ ∑ ∑ ∑ ∑ ∑

phrase 1 phrase 2 phrase 3 phrase 4
Scheme 1: HC HC HC PAC
Scheme 2: IAC IAC IAC PAC
Scheme 3: IAC HC IAC PAC
Figure 13.5.3: Possible cadential schemes in a double period
Notice that the first two phrases of an antecedent group can consist of
an IAC followed by a HC (“Scheme 3” in the above example). This may seem
confusing if you are focused on analyzing phrases solely in groups of two instead
considering how many phrases are in a section before analyzing the cadential
scheme and the form.
13.5.1 Repeated Period
You may encounter a section consisting of four phrases that is not a double
period but instead is a repeated period.
43
phrase a
# ˙˙ # # œœœ # # œœœ œœ # # œœœ # ˙˙ # # ˙˙ œ

581
&c ˙ # # # ˙˙˙ #˙
˙ n #˙˙˙ ˙.
S
n # # ˙˙˙˙ œ #œ
cresc.
# œœ # œœ
dolce e molto ligato.
& c # ˙˙ # # œœœ # œœ
?
& # ˙˙ # # ˙˙
# # # ˙˙˙ # ˙˙ w
E: V
(HC)
phrase a'
# ˙˙ # # œœ # œœ
? ˙ œ# œ # # # ˙˙˙ # ˙˙ # n œ˙œ # ˙˙ ..# œ
#œ
˙ œ #œ nœ #œ œ #œ #œ ‹œ
585
œ #œ #œ œ
3
&
p #œ
p
3 3
cresc. 3
? # ˙˙ # # # œœœ # œœ # # # ˙˙˙ # ˙˙ nw œ Œ Ó
nw œ
V7 I
(PAC)
phrase a (with ornamentation)
# œ‹ œ œ œ œ œ œ# œ œ œ œ œ œnœ#œ œ#œ#œ œ #œ˙‹œ œ œ œ œ##œœ#œœ œœ œ œ

3 3 3 3 3
3 3 3
œ
3 3 3
# œ œ œ # œ
# œ˙# œ œ œ˙œ œ œ
# œ ‹ œ
3 3 3
& ˙
3 3
œ #œ œ˙ œ#œ#œœ
589
S
3
œ #œ
cresc. 3
dolce
# ## ˙˙˙ # ˙˙ #˙
#n ˙˙˙ # œœ # œœ
? ? #œ
# # œœœ œ#œ
3
& # ˙˙ # # œœœ # ˙˙
# œœ
&
˙
V
(HC)
phrase a' (with ornamentation)
#œ œ œ #œ œ
3
œ
3
# œ˙#œ œ œ˙œ # œ œ œ œ # œ œ # œ œ œ œ œ # œ œ œ # œ
3 3 3 3
3 3
?
& #œ ‹œ œ œ œ œ œ #œ œ œ
593
J
3 3 3 3
˙ œ #œ
p f
? # ˙˙ # # # œœœ # œœ œ
cresc.
###˙˙˙ # ˙˙ nw œ
nw
V7 I
(PAC)
repeated parallel period

parallel period parallel period
a YT:a' lbblMw6k1cU a a'
HC PAC HC PAC
Í
œ a' (with
œ ornamentation)
œ œ
œ œœ . œ œœj
(HC)
œœ ggg œœœ œœ
cresc.
œœ
? bb b œ
phrase
œ œ œ ‰ œ
b # œ œ œ œ Jœ # œ œ 149
3 3
# œ œ #
3 3
? # œ˙#œ œ œ˙œ œ œ # œ œ # œ œ œ œ œ œ œ # œ
3 3 3 3
13.6. PHRASE GROUPS AND PHRASE CHAINS
œ
593
& #œ ‹œ œ œ œ œ #œ œ œ J
3 3 3 3
V
˙ œ difference
#œ (HC)noting the ca-
Examine the between these
p after the second phrase in each:
two
phrase a formal diagrams,
f
#
dence
? ˙b ˙ #Tœ
T
b œ# # œœ œ .# œœ œ œ .###˙˙˙ j# ˙˙ œ n nœw. œ œ œ
cresc.
b b n œ b œ Œ
573
& œ œ œ nw œ œ
.
p œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ bœ
(PAC) V7 I
œ
? b b b œ œ œ œ œ œ œ œ repeated
œ
b œ œ œ parallel period
parallel period parallel period
V
a a' a (HC)
a'
phrase b'
HC PAC HC PAC
&bb
b b 13.5.5:
œ .. Formal œ œ . of a repeated
œ .. diagram œ œ œ period
œ (Beethoven,
œ j I)
nœ œ bœ œ œ œ œ‰
577
œ œj
Op. 53,
œ œ œœœ œ
Figure
j j
œ œ
S p J
œœ œ œ œ œ nœ bœ œ œ œ œ œ j
? bb b ≈ œ ≈œ œœ œ œ
≈ œ. œœ n œ œ œ œ œ‰
b J œ.
V7 (PAC) I
a b a b'
HC HC HC PAC
Figure 13.5.6: Formal diagram of a double period (Beethoven, Op. 10, No.
1, II)
In the next section we will examine phrase combinations that are not peri-
ods.
13.6 Phrase Groups and Phrase Chains
Phrase groups and phrase chains are not periods. In phrase groups and phrase
chains, the final cadence is a half cadence. A phrase group consists of at least
two phrases whose melodies begin similarly and has the final phrase ending in
a half cadence. The terminology in this section draws from Douglass Green’s
Form in Tonal Music.
44 150 CHAPTER 13. PHRASES IN COMBINATION
phrase a
. œ. œ. œœœœœœ
597
# # 3 œ œ. œœ œœ œ3̂ œ œ œ
& 8
p
#
& # 38 œ œ œ. œ œ œ œ œ œ œ. œ. œ. œ
‰?
. . V I
(IAC)
. .
phrase a'
# # œ œ. œ œ. œ œ œ œ œ
œœ
œ œ.
601
œœ
&
f
? # # œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ
œ. œ
œ
V
(HC)
605
##
&
YT: oh6ByhUep0s
Figure 13.6.1: Couperin, 5 Pièces de Clavecin, 4. Le Petit–Rien (Ordre XIV,

8)
? ## ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
A phrase chain also ends in a half cadence and consists of at least two
phrases with contrasting melodies.
45
13.7. THE ELISION 151
phrase a
œ œ œ œ
b 2 . # œ. œ. œ #œ œ œ œ œ
605
& 4 .
p
œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
? b 42 ..
V/3rd i
(IAC)
phrase b (is a sentence)
subphrase a subphrase a
609
œ œ œ œ ˙ œ œ œ œ ˙
&b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
crescendo
? œ œ
b
phrase b (continued)
related material
œ œ ‰ .
613
&b J .
f dim.
œ œ œ œ œ œ œ #œ œ œœ # œœ
?b œ œ œ J ‰ ..
V
(HC)
&b
617
YT: O93GspATPzs
Figure 13.6.2: Beethoven, Sonatina in F, Anh. 5 No. 2, II. Rondo
?b ∑ ∑ ∑ ∑ ∑ ∑ ∑
13.7 The Elision
An elision is a special device for joining phrases together in an overlapping

manner. In an elision, the final bar of one phrase is simultaneously the first
bar of the next phrase.
46 measure
number
# ˙˙ j j
œœ œœ œ œ œ œ œœj ‰ œœ ‰ œœ ‰ Œ
in phrase: 1 2 3 4
& c ˙˙ œœ œœ œœ œœ
j j j
œœ
617
œœ œ
J J œ œ J J J
p j
?# c ˙˙ ˙˙ œ œ œ j œ œœ
∑ œ œ œ œ œœ ‰ œJ ‰ Œ
J
measure
number
in phrase: 1
. .2 . . . .
3 4/1
Ÿ
# ˙ ˙˙ œœ œœ œœ œœ œœ œœ œœ œœ
621 elision
& ˙ œœ œ œœ œœ œ œ œ œ ˙ œœœœœœ
.. .. œ œ œ ˙˙ œœ œ œ œ œ œ
˙ S p
˙ œ œ œœ œ œ œœœœœ œ œ œ
?# ∑ ˙ ˙ œ œ œ œ
measure
Ÿ
number
in phrase:
œœœœ
2 3 4
#
& ˙˙ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœ
625
S p œ œ œ œ œ œ œ
cresc.
œ œ
?# œ œœœœœ œœ œ œ œ œ œ œ œ œ œ œ
1 2 3 4 1 2 3 4/1 2 3 4
628
#
& YT: TpPuLwtDQrY
Figure 13.7.1: Mozart, Eine kleine Nachtmusik, K. 525, I.
?# ∑ ∑ ∑ ∑
13.8. SUMMARY OF PHRASES IN COMBINATION 153
13.8 Summary of Phrases in Combination
Number of Phrases Form Melodic Scheme Cadence Info

2 phrases Parallel Period a a’ Less conclusive then
more conclusive
Contrasting Period ab Less conclusive then
more conclusive
Phrase Group a a’ Ends with HC
Phrase Chain a b Ends with HC
Repeated Phrase a a Same cadence twice
3 phrases Asymmetrical period a a b or Ends with most
a bb conclusive
Phrase group a a b or Ends with HC
a bb
Phrase Chain a bc Ends with HC
4 phrases Double Period a b a b’ or HC–HC–HC–AC or
a a’ a a" or IAC–IAC–IAC–PAC or
a a’ a b IAC–HC–IAC–PAC
Repeated period a b a b or Less conclusive then
a b a c or more conclusive
a a’ a a’ formula repeated
Table 13.8.1

1. For each excerpt below, do the following:
• Label chords with Roman numerals at the ends of phrases to deter-
mine cadences
• Label cadences by type (PAC, IAC, HC, PC, DC)

• Examine the motivic structure to determine if a phrase is a sentence
• Create a diagram of the form using cadence abbreviations (HC, DC,
PC, IAC, and PAC) and letters to designate melody (a, a’, b, etc.).
Use the “prime” symbol (’) to show if a melody ends with a dif-
ferent cadence. In this chapter, the prime symbol should not be
used to represent embellishment of the melody or changes in the
harmonization or register.
• Name the form of the excerpt (sentence, parallel period, contrast-
ing period, asymmetrical period, parallel double period, repeated
phrase, repeated period).
48
(a) Mozart, The Magic Flute, “Ein Mädchen oder Weibchen”
b 2 œ
j œ œ œ œ œ . œ œ . œ œ œ œœ œ œ . œ œ . œ œ ‰ œj
& 4 œœ ‰ œœœ ‰ œœœ œ œœ œœ
648
‰ œ J Œ œ ‰ œ ‰ œ Œ
J J J
? b 42 ‰ œ ‰ œj ‰ œ Œ œ ‰ œJ ‰ œ Œ
J J
F: ____ ____
œ œ œ œ œ. œ œ œ œ. œ œ. œ œ œ j
3
œ. œ œ. œ œ œ œ ‰
653
& b œœœœ ‰ œœœ ‰ œœœ Œ œ

œœ ‰ œœœ ‰ œœ Œ
J J œ
J J
j
? b œ ‰ œj ‰ Œ j ‰ œj ‰ Œ
œ œ œ
____ ____
&b
657
YT: CI0hJLioGF0
Figure 13.9.1
? ∑ ∑ ∑ ∑ ∑ ∑
b 47
(b) Mozart, Piano Sonata K. 333, I
Ÿ
b j
& b c œœ .. œ œ œ œ jœ j œ bœ. œ
632
œœœ œ œ œ. J œ œ J œ œ œ œ œ œ œ
. œ. œ. œ œ.
? b b c œœ˙ .. Ó Œ ˙ œ n œœ œ œœ œ œ œ œ
Œ
˙ ˙
B¯: ____ ____
b j j
&b œ œ œ œ œ œ œ œ œj œ œ œj œ n œ œ # œ œ œ n œ œ Œ
636
#œ
j œ. nœ œ œ œ œ œ œ
j
œ.
œ

Chapter 14
Accompanimental Textures
In this chapter we will focus on common accompanimental textures. This

chapter does not make an attempt to catalog every known accompanimental
texture. Instead, it is meant to encourage you to listen to texture more closely
and increase your musical awareness.
14.1 Texture
We will consider texture in terms of vertical and horizontal elements. The
vertical nature of texture relates to the number of notes occurring simultane-
ously as harmonies. It could also relate to the number of voices or instruments
performing melodies simultaneously in a contrapuntal texture. The horizontal
element of texture relates to rhythmic activity: is the most common rhythmic
value in a passage a slow or fast one?
To illustrate, here is a texture with chords (vertical elements) containing 51
five voices with a melody (a sixth voice) above. Notice that the texture has
slow rhythmic values on the horizontal plane.
bb 4
705
E¯m7 F
&bbb 2 W ww œ nœ œ œ œ œ œ œ
W
∑ w nW
W
π
? bb 4 ∑
bbb 2 w W
w W
YT: b8G9vRqq3RI
##
Figure 14.1.1: Barber, Adagio for Strings
& # 68
707
Our second example is an excerpt for four instruments—a string quartet.
? # # # 68 ∑
While this a four-voice texture, it is full of rhythmic activity. The most common
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
rhythmic value is the sixteenth note, and the syncopated figures in measures
∑
157
158 CHAPTER 14. ACCOMPANIMENTAL TEXTURES
3–4 of the Violin I part and measures 5–6 of the Viola part add to the textural
complexity.
œ œ œ œ nœ œ
bb 2 œ œ œœ œœ j œ œ œ œ nœ
J
Violin I & 4 b n œ œœœ œ J J
f
b bb 2 œ œ œ œ œ œ œ œ œ œ n œ œ œ ‰ ‰
Violin II & 4 J œ œ œ œ œ œ œ œ œ œ n œ œ œj
f œ œ œ œ œ nœ œœ œ
b 2
B b b 4 œœ Œ ∑ œ œ œnœ
Viola œœœ
f
? b b 42 œ Œ œ Œ œ Œ Œ
Cello b œ
f
œ œ œ œ nœ œ
bb œ œ œœ œœ j œ œ œ œ nœ
J
& b n œ œœœ œ J J
5
Vln. I
b œ œœ œ
Vln. II &bb œœœœœ œ n œ œ œJ ‰
œ œ œ œ œ œ œ œ œ œ nœ œ œ
j‰
nœ œ œ œ œ œ nœ œ œ
B bbb j œ œ œ œ
J J J œ œ œ œ nœ
œœœ
œ
Vla.
? bb œ Œ œ Œ œ Œ Œ
Vc. b œ
b
&bb ∑ ∑ ∑ YT:∑ rLLYRLqUl68
∑ ∑ ∑ ∑ ∑
9
Vln. I
Figure 14.1.2: Mozart, String Quartet K. 428, IV

b
Vln. II &bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vla. BInb b bthe ∑following∑

∑ we will
sections, ∑ examine
∑ fairly
∑ straightforward
∑ ∑ melody-
∑
and-accompaniment textures in classical and popular music. In later chapters
? b
we will explore more complex textures.
Vc. bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
14.2 Chorale Texture

©
Chorale textures are those in which there is a chord for every (or nearly every)
melody note. A familiar example of chorale texture is the “Star–Spangled
Banner.”
˙ ˙
G: I/3rd vi I/5th I/5th V7 I IV I
plagal cadence
14.2. CHORALE TEXTURE 159
˙˙ œœ . œœ œ œœ œœ ˙˙
V œ .. œ œ œœ . œ
7
œœ
18
# O# say can you j see,j j by the œdawn's

. (œ) œ ear
œ ‰- Œ ly œj œ light,
& # 68 œj œ . œ œ œ œJ œ œ œ Œ œ œ . (œ) œ . œ œ œœ œ
161
? œ. œ œ œœ # œœ ˙
7
œœ œœ ˙˙ œ. œ œ
## 6 # œ . œœ œ ˙
161
Ich träum -te von bun -ten Blu - men, so wie sie wohl blü-hen im Mai; ich träum-te von grü-nen
& # 8 ‰ œ œ œ œ œœ œ œ
œœ œœ œœ
œ
œ œ œ œ œ œ œ œ œ œ œ œœ œ
p
? # # # 6 ‰ œJ ‰ ‰ œJ ‰‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ j ‰ ‰ œJ ‰ ‰ œœ ‰ ‰ Œ .
8 J J J J œ œ
YT: uBS-F944zYc J
A: ___ ___ ___
Figure 14.2.1: Francis Scott Key and John Stafford Smith, “The Star–-
# ## U
Spangled Banner”
œ œ œ .
V ∑ ∑ ∑ & ∑# œ ∑ J œ ‰ ∑œ œ .∑# œ œ ∑œ . œ œ ∑ œ œ ∑ œ œ œ∑œ ( œ .)œ∑ œ œ∑ œ œ ∑œ ‰ ∑‰ ‰
12 167
### œ œjU‰
Wie - sen, von lu - sti - gem Vo - gel - ge - schrei, vom lu - sti - gem Vo - gel - ge - schrei.
167
& œ œ œ œ œ œ œ œ œ
?# ∑ ∑ ∑ ∑ œ ∑ œ ∑ œ ∑ ∑œ ∑ œ ∑œ ∑ œ ∑ œ∑ œ ∑œ . ∑œJ
12
? # # # œœ ‰ ‰ Œ . œ j œ. œ U
œ œ ‰ ‰ œJ ‰ ‰ J ‰ ‰ œ ‰ ‰ œ ‰ ‰ œJ ‰ ‰ œœ .. œœ ‰
J
In theJ following example J at times moves in
by Schubert, the melody J a
slightly different rhythm that the chords below. ___ ___ ___
## 3
& # 4 ‰ ∑ ∑ ∑ ∑
172
? ### 3 œ œœ .. œœ œœ .. n œœœ œœœ ... œœ œœ .. œœ # œœ . œ œ . T œœ œ œœ . œ œ ..

œ œ. J œ œ. œ œ œ. œ œ œ.
172
4 J J J
p π
? ### 3 ‰ j j j
4 œ . œ œ . œ œ œ œ . œ œœ œœ .. œ œ
œ
œœ ..
.
YT: 2n2YIxXJXac
Figure 14.2.2: Schubert, Winterreise, D.911, “Die Nebensonnen”
Chorale textures are also described as “homorhythmic” because all of the

parts move in the same rhythm.
œ œ œœ ˙ . œ 4
#œ. œ œ œ ˙
12
& 44 œ œ œœ œœ œœ œœ œœ œœ œ œ œ . ‰ œœ œœ œœ œ œ œ œ œ œ
œ œœ œœ œ œ œ œ. œ œ œœ œœ
Some nights, I stay up cash - ing in my bad luck Some nights, I call it a draw
12
? 44 œœ œœ œœ œœ œ œœ œ œ œ œ œœ œœ œ . ‰ œ œ œ œœ œœ œœ œ œœ œ
œ œœœ œ œ œ œ
51
YT: Z0WDRq0xNtQ
bb 4
705
E¯m7 F
&bbb 2 W ww œ nœ œ œ œ œ œ œ
Figure 14.2.3: Bhasker, Ruess, Dost, Antonoff, “Some Nights”
∑ W
W
w nW
π we will examine arpeggiated accompaniments.
In the next section
? bb 4 ∑
bbb 2 W
wAccompaniments
W
14.3 Arpeggiated
w
14.3.1 Arpeggios
One way to express chords rhythmically is through arpeggios in one part
and a bass line in octaves in a lower part, as in the following example from
Beethoven’s Moonlight Sonata.
##
& ## C œ œ œ œ œ œ œ œ
œ œ3 œ œ3 œ œ3 œ œ3 œ œ œ œ œ œ œ œ
sempre π e senza sordini
? #### C w
simile
w
w w
##
& ##
709
œ œ œ
œ œ œ œ œ œ œnœ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? #### ww
˙ ˙ ˙ ˙
˙ ˙ ˙ w
˙
YT: 4Tr0otuiQuU
Figure 14.3.1: Beethoven, Moonlight Sonata, Op. 27, No. 2, I
14.3. ARPEGGIATED ACCOMPANIMENTS 161
The next example has descending arpeggios.
54
# 3 œ œ œ œ œ œ œ œ œ œ œ œ
Cmaj7 Bm7
& 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
746
˙. ˙. ˙. ˙.
3 3 3 3 3 3 3 3 3 3 3 3
? # 43
54
##
YT: Ju8Hr50Ckwk
12
750
G Am
3 œ œ œ œ œ œ œ œ œ œ œ œ
Cmaj7 Bm7
& 48 œ œœ œœ œœ œœ œœ œœœ œ œœœ œ œœœ œœ œ œœ œœ œœ œ œ œœœ œ œœœ œ œœœ

746 Figure 14.3.2: Keys, “If I Ain’t Got You”
&
œ œ
. j ˙.
? 348 ˙œ .
? ## 12 ˙. j ˙.
3 3 3 3 3 3 3 3 3 3 3 3
œ œ ˙. œ. œ œ ˙.
œ. œ œ ˙. œ. œ œ ˙.
Notice that in both the Beethoven and Alicia Keys examples there is the
12
Fmaj7 of a tenth (an octave plusAm
b#
752
harmonious interval a third) between the bass (low-
12
750
& 88
G Am
& œ œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ
est) voice and the soprano (highest) voice.
?
? b# 12
The following examples have arpeggios that ascend and descend through a
chord.
12
88 j j
œ.
˙œ..
œ œ ˙.. œ. ˙œœ ... œ œ œ˙ .. œ.
œ œ œ˙ . œ œ ˙.
j j
E¯ Gm7 A¯ B¯
bb b124 œ . œ
œ ˙
˙ œ .
œ . œ œ œ œœ ˙˙˙ œ œ œ
œ
Fmaj7 Am
œ
752754
.
& 84 œœ . œ œ ˙ œ .
œ œ œ œ
œœ œœœ œ œœ œœœ œ
? b b 44
? b b12 j j
8 œ. œ ˙ œ. œ . œ ˙
˙ . œ . œ.
˙. œ.
&b
754 YT: cWkXmx-0phc
Figure 14.3.3: Pankow, “Colour My World”
?b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? # 43
#
& 12
750
G Am
8
œ œœœœ œœœœœ œœœœœœ œœœœœœ
œ œ
? # 12 j j
8 œ. œ œ ˙. œ. œ œ ˙.
œ. œ œ ˙. œ. œ œ ˙.
752
#
&
YT: zA-upjFaHvw
Figure 14.3.4: Ball, Angel, and Fenty, “Love on the Brain”
?# ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Notice in the above example that there is also an organ playing block chords
to create a sense of legato in the texture.
The next two examples are from more recent popular music.
13
### 4 ≈
122 A E F˜m D
& 4 œ œ œ œ œœœ œ œ œ œ œ œ. ˙ œ œ
### 4
122
& 4 œ œ œ œ œ œ œœœ œœœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
œ
? # # # 44 ˙˙
˙ ˙
˙ ˙
A: I V vi IV
b 4 j
Fm D¯ A¯ E¯
& b b b Figure œ œ œ œ
œ œ Adkins œ. œ ˙
124
4 œ 14.3.5:
YT: hLQl3WQQoQ0
and Wilson, “Someone Like You”
b
& b b b 44 œ .
124 Hel - lo from the oth - er side
j j
œœ .. œœ ˙˙ œœ .. œœœ ˙˙˙
œ ˙ œ.
? b b b 44 j j
b œ. œ ˙
F A
14.3. ARPEGGIATED ACCOMPANIMENTS 163
9
D F˜m/C˜
? ## 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
411
4
œ Œ Ó œ Œ Ó
Menuet, BWV Anh. 116 J.S. Bach
# 3Bm œ œ œ œ œ œ œ œ œ
_____ _____ _____ _____ _____ _____
œ
G
135
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
413
œ Œ Ó Œ Ó
? # 43 ˙ œ œœœ œœ ˙ œ œ œ œœœœœœ
? # # G: _____
415
_____ _____ _____ _____ _____
1 2 3 4 5 6
# œ œ œ œFigure
œ œ œ œTedder,
œ œ“Secrets”
_____ _____ YT: qHm9MG9xw1o
_____ _____ _____ _____
( œ) œ ( œ ) ˙ .
&
139
14.3.6:
?# œ œ œ œ œ œ œ (œ ) œ œ ( œ ) œ
œ œ œ
Below is an example _____
in 44 with arpeggios in sixteenth notes.
_____ _____ _____ _____ _____
7 8 9 10 11 12
"No Scrubs"
Lead-sheet symbols:
_____ _____ Cadence type: _______________
_____ _____
b
& b bbbbb c
143
œ œ œ œ œ œ
œœ œœ nœ œ œ œ œœ
? bb b b c œ
bbb œ œ œ
Roman numerals: a¯: _____ _____ _____ _____
1 2 3 4
YT: FrLequ6dUdM Kevin Briggs, Kandi Burruss,

Tameka Cottle, Lisa Lopes
Figure 14.3.7: Briggs, Burress, Cottle, Lopes, “No Scrubs”
14.3.2 Alberti Bass
Alberti bass accompaniment patterns involve arpeggios that do not arpeggiate

chords in a simple upward or downward motion, but in a “low–high–middle–high”
pattern as you can see in the examples below.
Piano Sonata K. 545, I Wolfgang Amadeus Mozart
Score 164 _____
CHAPTER
_____
14. ACCOMPANIMENTAL
_____ _____ _____ _____
( TEXTURES
)
_____
( )
œ œ ˙ œ œ œ Ÿœ œ œ œ
œœœ Œ
Allegro
&c ˙ œ. Œ
145
mot. 1
U U
w.
w. bU
w. U
? 6 w. w. w. w.
4 bw. wœ. œ wœ. œ œ œ ∑ œ œ œ∑ œ
& c œ œ(Trumpets
œ œ œ œœœœ œ œ œ œmot.œ 1 (dim.)
ƒ œ œ œ& Trombones) œ œ œ œ œ
˙
? 6C: _____ Ó4 ˙˙ b ˙ 5˙ w . 6 ˙ . 7 œ Œ Œ
2
4 1∑ ∑ ∑ 3 ∑
2
_____ _____ _____
_____ _____ _____
b ˙ Cadence
2
ƒ (Tubas)
YT: 5NkzTTkqTB4 w . type: _______________
˙. œ
mot. 1 (dim.)
?6 ∑ ∑ ∑ ∑
∑ ∑ Ó. bœ œ œ œ
4
Piano Sonata, Op. 10, No. 1, II
ƒ Beethoven
4
T T
The next_____ _____
example same Alberti _____
uses the_____ _____
pattern as _____ (Timpani)
in the Mozart example
above,bbut
b 2 j œ. j
(œ .) œ œœ .
& b b 4 œœ œ œ. ( n œ)
œœ œ bœ n œ)
149
transposed to E minor and in a lower register.
œ œ .
( )
Elec. .Gtr.
(
? # 44 p ∑ œ œ .œ œ œ œ œœœ œ œ œœ œJœœ œœJ œ œœ. œ œ œ œ

8
? b b b 42 œœ œœ œœ . ‰ œ. ‰
bKeyboard
œ œ .
# 4
& 4A¯:w_____
ggg wwww 3 ggg wwww4 ggg wwww
8
ggg www 1
_____ _____ _____ _____ _____
2 5 6
?# 4
4 œ œ œ œ œ œ œ œ ..œ œ œœœ œ œœœœœ œ œ œ œ œ œ œ œ Ÿœ œ œ œ œ œ œ œ3
8
Elec. Gtr._____ _____ _____ _____ __________ _____ _____
b œ .. œ ( )(œ )œ œ
œ œœ œœ . œ œ œœnœœ œ œ œ œ œ œ œ
& b b œœ .. œ œœ œ œœ œ ggg œœ œœ
Elec. bBass
153
Í ‰
?# œ œ g œœ œœ œ œœ œ . œ j these
∑ ∑ ∑? b b ∑ œ œ
∑ œ œ œ
œ∑ YT:gg œ ∑ L6zR7qJ9frA
œ ∑ œ ∑ œ ∑ œœ your ∑ ‰analysis
notes ∑in
12 cresc. don't include
bb œ J
Figure 14.3.9: Carman and Spickard, “Pipeline”
#
_____ _____ _____ _____ __________ _____ _____
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
12
&
7 8 9 10 11 12 13 14
Cadence type: _______________
?# ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
12
14.4 Block Chord Accompaniments
This section contains the following subsections below:
• The “1 (2) &” rhythm
• The “Barbara Ann” Rhythm
• Repeated 8th–note Chords
• Repeated Quarter–note Chords
14.4.1 The “1 (2) &” Rhythm

In this section, we will discuss some accompanimental rhythms that occur
frequently in popular music. The first such rhythm has two chords per measure,
& 8 œ œ œ œ
œœœ œœœœœ œœ œœœ œœœœœ œœ
? 12
b 8
14.4. BLOCK CHORD ACCOMPANIMENTS 165
œ. ˙. œ. œ.
˙. œ.
with the first chord on beat 1 and the second chord on the upbeat after beat
2.
j j
E¯ Gm7 A¯ B¯
b œœ ˙˙ œœ ..
& b b c œœœ ... œœ ˙˙
754
œ ˙ œ. œ ˙
? b c
b b œ. j j
œ ˙ œ. œ ˙ 55
#
& c œ . œj ˙ j
D Em C D D Em
j
756
.
œœYT: œ ˙ œ . œ ˙ ww
œœ .. œœ ˙˙ œœ ˙˙
œ .. x6QZn9xiuOE œœ .. œœ ˙˙ w
Figure j14.4.1: Gaye andjTownsend, “Let’sjGet It On”
? # c œ. œ ˙ œ. œ ˙ œ. œ ˙ w
œ. œ ˙ œ. œ ˙ œ. œ ˙ w
You will find a similar rhythm and bass line in the next example.
##
D/F˜
760
D G G/A
& c j j
œœ .. œœ ˙˙ œœœ .. œœœ ˙˙˙
œ. .
? ## c j j
œ. œ ˙
œ. œ ˙
#
& #
762
YT: fdz_cabS9BU
Figure 14.4.2: Sheeran, “Thinking Out Loud”
? ## ∑ ∑ ∑ ∑ ∑
The “1 (2) &” rhythm is also found in “Don’t You (Forget About Me),” a
song associated with the film The Breakfast Club. 55
# D5 E5
j
C5 D5 D5 E5
j
& c j
756
œœ .. œœ ˙˙ œœ .. œœ ˙˙ œœ .. œœ ˙˙ ww
j j j
? # c œ. œœ ˙˙ œœ .. œœ ˙˙ œœ .. œœ ˙˙ ww
œœ . œ ˙ œ. œ ˙ w
. œ. œ ˙
##
D/F˜
760
D G G/A
& c j j
Figure œ ... œ ˙ œ . œ ˙˙˙ Me)”
YT: CdqoNKCCt7A
œœ14.4.3: œ and
Forsey ˙ Schiff, “Don’tœœ ..You (Forget
œœ About
? ## c j
œ ˙ j
œ. œ ˙
œ.
762
#
Below are five more examples of block chord accompaniment in the “1 (2)
&” rhythm.
Score
bb 4
&bbb 4 œ œœ ˙ œ œœ ˙ œ œœ ˙
Voice
b b b 4 œœœ œœœ œœœ œœœ œœœ ˙˙˙ œœ œœ œœ œœ œœ ˙˙ œœ œœ œœ œœ œœ ˙˙

Nev - er nev - er nev - er
œœ œ œœ ˙ œœ œ œœ ˙
ScoreKeyboard
b
& b 4
? b b b 44
Elec. Gtr.
œœ .. œœ ˙˙ œœ .. œœ ˙˙ œœ .. œœ ˙˙
b Voice
b œ. œ ˙ œ. œ ˙ œ. œ ˙
J J J
b bBass.4
& b bbb bb b44 4 œ
? œœ ˙ œ œœ ˙ œ œœ ˙
Elec.
b j j j
.
œ Nev œ er ˙ .
œnev œ er ˙ œnev. œer ˙
b b b 4 œœœ œœœ œœœ œœœ œœœ ˙˙˙ œœœ œœœ œœœ œœœ œœœ ˙˙˙ œœœ œœœ œœœ œœœ œœœ ˙˙˙
- - -
Keyboard
b
b b& ∑ b 4 ∑
& b b b Elec. ∑ ∑ ∑ ∑ ∑ ∑
4
4 œœ .. A. Wilson,
? b b 14.4.4: œœ ˙˙ œœ . œ ˙˙ œœ . œ ˙˙
. Ennis,œ Knight, . Block, œ“Never”
Gtr. YT: zWzy5q_M5Ho
b b b b ∑b b 4 œ ∑. œ ˙ œ. œ ˙ œ. œ ˙
N. Wilson, and
J J J ∑
Figure
b
& b Elec. Bass. ∑ ∑ ∑ ∑ ∑
? bb 4
bbb 4 j j j
? bb
b ∑ œ ∑. œ∑ ˙ ∑œ . ∑ œ ˙ ∑ œ . ∑ œ ˙∑
bb
? bb b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
bb
4
& b 44 œ . œ œ œ Œ ‰ œj œ . œ
Keyboard 1
Œ‰ j
œ œ œ œ œ œ. œ. œ œ œ œ œ.œ œœ œœ œœ.
? 4 . j j
b 4 œ œ œ œ Œ ‰ œ œ.œ œ œ œ œ œ œ. œ. œ œ œ Œ ‰ œ œ.œ œœ œœ œœ.
> >œ >œ >œ >œ >œ >œ >œ

? 4 œœœ
Keyboard 2
b 4 ‰ œœ Ó œœ ‰ œœJ Ó œœ ‰ œœ Ó œœ ‰ œœJ Ó
J J
? b 44 ‰ jÓ ‰ j ©Ó ‰ jÓ ‰ jÓ
> > > > > > > >
YT: iP6XpLQM2Cs
Figure 14.4.5: Sebert, Gottwald, Blanco, “Tik Tok”
©
? ## 4 j
4 œ ˙ j
œ. œ ˙
14.4. BLOCK CHORD ACCOMPANIMENTS œ. 167
b
& b b b b 44 œœ ‰ œœj Ó
j
E¯m9 A¯13sus Fm7 B¯9sus
œœ ‰ œjœ Ó j
762
œœ œœ œœ œœ œœœ ‰ œœœ Ó œœœœ ‰ œœœœ Ó
? b b b 44 ‰ j Ó j j
bb œ œ œ ‰œ Ó ‰ jÓ
œ œ œ ‰œ Ó
D¯: (ii V iii vi) 55
#b 4b D5 E5j C5 D5
j
D5 E5
j
756
& b b4b œ . œ ˙
766
œ. œ ˙ . œ
œœ . œ ˙ ˙ œ . œ ˙˙
œ . œ ww
YT: PMivT7MJ41M
? #b 4b œ . œj ˙ What Iœ .Like”œj ˙ ∑ œ . œj ˙
Figure 14.4.6: Mars, Lawrence, Brown, Fauntlery, Yip, Romulus, Reeves,
ww
McCullough II, “That’s
b b4b œœ .. œœ ˙˙ œ .. œœ ˙˙ œœ . œœ ˙˙
. w
œ
#
D/F˜
760
& # 44 œ .
D G G/A
j j
œœ .. œœ ˙˙ œœœ .. œœœ ˙˙˙
.
? # # 44 j
œ ˙ j
œ. œ ˙
œ.
Notice that the example above (“That’s What I Like”) has the same pro-
b
& b b b b 44 œœ ‰ œœj Ó
j
E¯m9 A¯13sus Fm7 B¯9sus
œœ ‰ œjœ Ó j
762
œœœ ‰ œœœ Ó œœœœ ‰ œœœœ Ó

gression as “September” by Earth, Wind, and Fire.
œœ œœ œœ œœ
? b b b 44 ‰ j Ó j j
bb œ œ œ ‰œ Ó ‰ jÓ
œ œ œ ‰œ Ó
D¯: (ii V iii vi)
bb 4 Gm B¯j j j j
766 E¯ B¯ Gm B¯ E¯ B¯
& 4 œ. œ ˙˙ œœ ..
œœ ˙˙ œœœ .. œœ ˙˙ œœ ..
œœ ˙˙
œœ .. œœ ˙ œ. œ ˙ . œ ˙ œ. œ ˙
? b b 44 j j j j
œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙
B¯: vi I IV I vi I IV I
YT: RgKAFK5djSk
Figure 14.4.7: Franks, Puth, Thomaz, “See You Again”

168
bb 4Ac.‰Gtr.
r‰ j r r
& 4 œœ œ ˙ ‰ . œ ‰ œj ˙ ‰ . œ ‰ œj ˙ ‰≈ œr‰ œj œ œ œ .
.
8 (notated at pitch in grand staff)
œ ˙ œ œ ˙ œ œ ˙ œ œ œœ
? b 4 œ .. j j
b 4 œ œ ˙ œ . œ ˙ œ . œj ˙ œ . œJ ˙
b b 4 Organ
& 4 ww ww ww
w w w ww
? b b 44 w w
w w
B¯: I V vi IV
b
&b ∑ ∑ ∑ ∑
12
YT: 0yW7w8F2TVA
Figure 14.4.8: Arthur, Ormandy, Solomon, “Say You Won’t Let Go”
? b ∑ ∑ ∑ ∑
b
b
&b ∑ ∑ ∑ ∑
The example below has the “1 (2) &” rhythm in dimininution.
56
? #b#b# # 4 ∑ Œ Œ ∑
equivalent to:
j ∑ j ∑ jÓ
770 & 4 œ. œ œ. œ œ. œ Œ Ó C œ. œ Ó œ. œ Ó œ. œ
? #### 4 œ Œ œ Œ œ Œ Ó C ˙ Ó ˙ Ó ˙ Ó
4
#### 4
775 YT: oyEuk8j8imI
& Figure
4 14.4.9: Bieber, Blanco, and Sheeran, “Love Yourself”
? # # # # 44 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
# # #The “Barbara Ann” Rhythm

& #
14.4.2
785
It is easier to describe the next block chord accompaniment pattern as the
? #### ∑ ∑ ∑ ∑ ∑ ∑
“Barbara Ann” rhytm than the “1 2 3 (4) & (1) & (2) & 3” rhythm. Below
are six examples of pieces that use this rhythm, whether with block chords or
solely in the bass line.
791
####
&
12 3
B¯CHORD ACCOMPANIMENTS
14.4. BLOCK 169
bb 4 j j j
& b b bb 4 ∑ D
∑ F œœ œœ œœ .. œœ œœ œœ œœ ˙˙
E G
œœ œœ œœ .. œœ œœ œœ œœ ˙˙
1 2 3 4Baa, baa, baa, baa, Bar - bar' Ann
? b b b 4 œ œ œ. œ œ œ œ ˙
bbb 4 J J J J J J
Baa, baa, baa, baa, Bar - bar' FAnn, Baa, baa, baa, baa,
A Bar - bar' Ann
bb
& b b bb D ∑ ∑ F˜m/C˜∑ ∑
5
? # # 44 œ œ œ œFigure
œ œ œ œ14.4.10:
œ œ œ œ œFassert, œ œœ œ œœœœœ œ
YT: -bSnI-a0BSc
œ œ œ “Barbara
œ œ œ Ann”
411
œ œ œ
? bbbœ ∑Œ Ó ∑ œ ∑ Œ Ó ∑
bbb
Bm G
? #b#b bœ bœ œ œ ∑œ œ œ œ œ ∑œ œ œ œ œ œ∑ œ œ œ œ ∑œ œ œ œ œ œ∑ œ œ œ œ œ∑ œ œ
413
& bb
9
œ Œ Ó Œ Ó
œ
? b
? bb b4b b b ∑ ∑ ∑ ∑ ∑ ∑
415
b 4 ‰ ‰
j j j ‰
j j j‰
œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ
b
& b bbbb ∑ ∑ ∑ ∑ ∑ ∑
15
YT: w6MQrdfj638
? Figure
bb b b b 14.4.11:
∑ ∑ ∑ ∑
Holland–Dozier–Holland, “You Can’t Hurry Love”
∑ ∑
b
23
? ## j ‰ j‰ j j ‰ j‰ j
419
œ. œ. œ . œ. œ. œ. œ œ œ. œ. œ . œ. œ. œ. œ œ
? ##
423
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Figure 14.4.12: Allen, Hall, and Oates, “Maneater”
? ##
431
437
? #### 4 œ Œ œ Œ œ Œ Ó C ˙ Ó ˙ Ó ˙ Ó
4
#### 4 j
170
j
jÓ
equivalent to:
& 4 œ. œ œ. œ œ. œ Œ Ó C œ. œ Ó
Œ Œ œ. œ Ó œ. œ
b
770
& b 44 œ œ œ . œj ‰ œj ‰ œj ˙ œœ œœ œœ .. œj ‰ œj ‰ œj ˙
B¯ E¯ F E¯
775
? # # # # 4 œœœ œœŒ œœ .. Œœœ œ œœŒ Óœœ ˙˙ C ˙ œ œÓ œ . ˙ œœ Ó œœ ˙ œœ ˙˙ Ó

4
? b 4 j ‰ j‰ j j ‰ j‰ j
b 4 œ œ œ ˙ œ œ œ . œ œ œ ˙
œ œ œ.
bb 4B¯: I j j j
‰ ‰ œœ œœ œœ .. œj ‰ œj ‰ œj ˙
B¯ E¯
IV FV E¯
IV
& 4 œ œ œ. œ œ œ ˙
775
b œœ œœ œœ .. œœ œœ œœ ˙˙ œ œ œ . œœ œœ œœ ˙˙
&b
779
? b 4 j ‰ j ‰Rew,j “Walking j ‰ j‰ j
b 4 Figure 14.4.13:
YT: iPUmE-tne5U
œ œ œ ˙ œ œ œ . œ œ œ ˙
? b b ∑ œ ∑œ œ .∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
On Sunshine”
B¯: I IV V IV
A
j j j œœ.
C
œœ. œœ .. œœ. œœ. œœ- œœ œœ œœ œœ
œ œœ œœ .. œœ œœ œœ œœ œœ œœ œœ
44b # œœœ œœ œœ œœ .. œœ ‰ œœ ‰ œœ œœ œœ œœ œœ
Elec. Gtr.
V œœ œœ .. œœ ‰ # œœ ‰ œœ œœ œœ œœ œœ œ œ œ .. œ œ œ œœœœ
&b œœ ..
791
œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœœœ
779
. . . . - J J J
?
? 44b j ‰∑ j ‰ j ∑ ‰∑ j ‰ j ∑
Elec. Bass
b ∑ ∑ j
œ. œ. œ . œ. œ. œ- œ œ œ. œ. œ . œ. œ. œ- œ œ
783
V YT: tuK6n2Lkza0 23
Figure 14.4.14: Ceste and Muncey, “Are You Gonna Be My Girl”
??# #
∑ ∑ ∑ ∑j ‰ ∑ j ‰∑ j ∑ ∑ ∑ ∑ ∑ j ‰∑ j ‰∑ j ∑ ∑
419
œ. œ.version
A slower œ . œ.of thisœ. rhythm
œ. œ occurs
œ œ.in œDeep
. œ . Purple’s
œ. œ.“Smoke
œ. œ onœthe
Water.”
. . bœ .
? b b 44 œœ. œœ œœ . œœ ‰ œœ ‰ b œJ ˙˙ œœ. œœ œœ .. œœ ‰ œœ .. ˙˙
423
J J J
? bb
427
YT: _zO6lWfvM0g
Figure 14.4.15: Blackmore, Gillan, Glover, Lord, and Paice, “Smoke on the
Water”
? bb
437
14.4.3 Repeated 8th–note Chords

Repeated 8th–note chords occur regularly in “Classical” music textures.
? bb
443
449
?c j ‰ j‰ j j ‰ j‰ j
œ. œ. œ . œ. œ. œ- œ œ œ. œ. œ œ. œ. œ- œ œ
.
r œ œ .œ œ œ . r œ . œ œ œ .œ œ œ œ œ œ œ œ œ. œ
&c œ œ #œ ˙ #œ ˙
r
783
#œ
œ
f
œœ œœ œœ œœ œœ œœ œœ œœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
?c œœœœœœœœ
YT: bZZqSZqJz4Y
19
& b 42 ∑ ∑ ∑
177
Íj
24 Œ ‰ œ œ > >
œ
177
&b œ œ œ œ œ œ œœ œ . œ œ œ
# œœ œ œ # œœ
. . . .
p Í
?b 24 œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ œœ œœ >œœ
&b ∑ ∑ ∑ .. ∑
180
j
œ .. œœ œ
&b œ
180
j œ œœ œœ œ œ œ œ œ # œ œ œ.
œ œ >œ œœ m œ œ œ œ œœ .
œπ
? œ œ œ œ
b œ œ œ œœ
œœ œœ œœ
œ œ œ
œœ
œ
œ œ œ œ
œ œ œ œ .. œ œœ œœ
> œ . .
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
184
YT: 5kaA3X2qSPU
Figure 14.4.17: Schubert, Winterreise, D. 911“Gute Nacht”
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
184
?b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? b œœ œœ œœ œœ œœ œœ œœœ œœœ œ œ œ œ .. œ œœ œœ
œ œ œ œ œ œ œ œ . .
172 > CHAPTER 14. ACCOMPANIMENTAL TEXTURES
F
&c Ó ‰ j ‰ œ œ œ b˙. Ó
184
œ œ. œ ˙ œœ ˙
184 Ich grolle nicht, und wenn das Herz auch bricht.
& c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ
>œ œ œ œ >œ œ œ œ >œ œ œ œ > > > >œ œ œ œ # >œ œ œ œ
F
?c Ó ˙ ˙
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙
˙ ˙ ˙
YT: lOdjXYp13-Y
Figure 14.4.18: Robert Schumann, Dichterliebe, “Ich grolle nicht”
The next example is from the musical Annie. Note the “1 (2) &” rhythm
in the bass line.
20
b j
188
& b œ.œ œ œ j‰ ‰ œ ‰ œ œ ‰ œ. œ œ œ.
œ œ œ œ.œ œ œ
It's a hard - knock life for us, It's a hard - knock life for us 'Stead of treat - ed
b
188
&b ‰ Œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ
œ. œ.
œœ
œ.
œœ
œ.
œœ
œ.
. . . . . . . . . ..
? b ‰ j j j j
b Œ œ‰‰ œÓ œ ‰‰ œ Ó
œ œ œ œ
> > > >
b
&b ∑ ∑ ∑ ∑ ∑ ∑
191
YT: R5wAGQIt39E
Figure 14.4.19: Strouse and Charnin, Annie, “It’s the Hard Knock Life”
b
&b ∑ ∑ ∑ ∑ ∑ ∑
191
? b ∑ ∑ ∑ ∑ ∑ ∑
b
Repeated eighth notes are a standard accompanimental texture in rock.
57
œœœœœœœœ
? b b c œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ
F5 E¯5 D¯5 B¯5 C5 E¯5
787
bb œœœœ
? bb b c
b œœœœœœœœ œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ
? bb b
791
b
YT: 9JtlCuIqcrM
Figure 14.4.20: Gill and Wade, “Heartbreaker”
? b b b ∑ F5∑ ∑ ∑ ∑ E¯5∑ ∑ ∑ ∑ D¯5∑ ∑ ∑ ∑ B¯5∑ ∑C5∑E¯5 57

b
? b b b 44 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
787
b
The repeated eighth–note rhythm is also common in recent popular music.
? bb 4
Note that the following example uses the 1950’s progression (i.e., I – vi – IV – V ).
b b 4 œœœœœœœœ œœœœœœœœ
œœœœœœœœ œœœœœœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
F Am/E Dm7
œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
44
Piano
&b
791
? 4
œœœœœœœœ œœœœœœœœ
Elec. Gtr.
Elec. Bass œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœœœœœ œœœœœœœœ
&b
795
YT: Sv6dMFF_yts
Figure 14.4.21: Ruess, Dost, Antonoff, and Bhasker, “We Are Young”
?b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
14.4.4 Repeated Quarter–note Chords
Repeated quarter–note chords are a common accompanimental rhythm in “Clas-

sical” and popular music.
? bb 4
33
b b 4 œ œ œ œ œCHAPTER
174Lead-sheet: ___
œ (œ )œ œ (œ )œ œ œ œ œ œ œ œ œ œ œ œ œ (œ ) œ œ œ œ œ œ
___ 14. ___ACCOMPANIMENTAL ___ ___ ___ TEXTURES ___
## 3
447
& 4 œ˙œ. œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ˙ ..œ œ œ œ œ

3
Piano œ œpœœ œœ œœ œœ œœ œœ œœ œœœœœ œœœœœ œœ œœ˙ .œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ˙ œœ œœ œœ œœ œœ

F Am/E Dm7
& b 44
791
? # # 43 œ œ œ œ œ œ œ œ œ œ
? 4 œœ œœ œœ œœ œœ œ œ œ œ œ œœ œœ œ œ œ
b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. . œ œ œ
Elec. Gtr. . . . . . . œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ. œ
Elec. Bass œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
D: ___ ___ ___ ___ ___ ___ ___
4#
795452 ___ ___ ___ ___ ___ ___ ___
& 4# œœœ̇ . œœFigure b. œœ œœ Handel,

œœ œœ14.4.22: œœ .. œœ œœ. Xerxes, œœ . œœ maib œœfu” œœœœ œœœœ.. œœ œœ
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œ œ œœ œœ“Ombra
.œ .œ œ œ œ œ œ̇œ œœ . œœ . œ̇œ. .œœ œœ . .œ
. . œ̇ . œ . œ . œ œ.
? 44 F
? ## œ.œ œ.œ œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ œ.œ œœ.
#
& 44___œœœ œœœ ___
œœœ
œœœ œœœ œœœ œœœ œœœ œœ œœ œ œ œ œ œ œ
799 ___G ___ ___ G ___
D/F˜ Em___ ___ ___
G7/D
œœ ___
œ___œ ___ œœ ___ n œœ œœ
œœ œœ ___ œ œ
___ ___
## . j
457
œ œœ( œ)# œ (œ ) œ (œ ) œ j Œ
œ Óœ œ Œ œ̇‰ . njœœ œœ œœœ œœ œœ(. ) œœ (œ ) ˙
? # 44œœ œ ( ) ∑œ
&
œ ˙
p
˙ ˙ ˙˙
? ## œ œ œ Œ
œ œ œ œ œ œ ˙ œ œ
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œ ˙
___ ___ (skip
Figure this bar) Joel,
14.4.23: ___“She’s___
Got___ ___ ___
a Way” ___
Lead-sheet: ___ ___ ___ ___ ___ ___ ___
2 œ.
& b 4 œœ (œ ) œœ (œ) œœ (œ) œœ (œ ) (œœ ) œ œ (œ ) (œ̇) œ (œ ) œ
462
Test 2 Review
? b b 42 œœ (œE¯sus4
œ E¯m œ E¯sus4œ E¯m œœ A¯m/C¯ œ C¯
Analysis
(œ ) ˙˙A¯m/C¯ C¯
) œ œ œ
b 4 œ œ
& b b b b 4 œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
58 803
( )
F: ___ ___ ___ ___ ___ ___ ___
? bbb 4 Œ Ó Ó ‰ j Œ Ó Ó ‰ j
bbb 4 œ
œ œœ œ œ œ
b
& b bbbb
807
YT: mjwV5w0IrcA
Figure 14.4.24: Gramm and Jones, “Cold As Ice”
? bb b b ∑ ∑ ∑ ∑ ∑ ∑
bb
bb
813
? bbb 4 Œ Ó ‰ j Ó Œ Ó Ó ‰ j
bbb 4 œ
14.5. AFTERBEATS AND OFFBEATS œ œœ œ œ œ175
bb b b b 4 œœ œœ œ œ œœ œœ œ œ œ œ
58 803 E¯sus4 E¯m E¯sus4 E¯m A¯m/C¯ C¯ A¯m/C¯ C¯
& b Gm 4 œ œ œœ œœ Dm/F
œ œ œœ œœ E¯ œ œ œœ œœ œœ œœ œœ œœ
b 4 j j j j j j j j j œ jœ jœ œj œj œ jœ j œj
Dm
& b 4 œœ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰

807
œ œ œ œœ œœ œœ œœ œœ . . . . œ. œ. œ. œ.
? b b b . 4 . Œ. .
Ó . Ó . .‰ j. Œ Ó Ó ‰ j
? bbb b44b ‰4 j œ Ó ‰ j Ó œ œ œ‰ œj Ó ‰ j Óœ œ
œ œ. œ œ. œ œ. œ œ.
b 4 j‰ j‰ j‰ j‰ j ‰ j‰ j‰ j‰ œj ‰ œj ‰ œj ‰ œj ‰ j j j j
Gm Dm/F E¯ Dm
b œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰
807
& b 4 œœ œœ œœ œœ œœ YT: œœ œœ œœ. œœ. œœ. œœ.

œœ 3T1c7GkzRQQ
b œ œ œ œ œ
. . œ. œ.
œ . . . .
811
& . . . .
? b b 44 ‰ j Ó
Figure 14.4.25: Sumner, “Roxanne”
‰ j Ó ‰ j Ó ‰ j Ó
œ œ.
5
œ œ. œ œ œ œ.
? # .
b4b #Aww∑ ∑ E∑ ∑ F m∑ ∑ D∑ ∑
59
&4 w w # w
# ww # ww # www
? b44b b b w4 w #w
D¯ G¯maj7 E¯m9 D¯/A¯ A¯
& b w4 œœ œœ œœ œœ w œœ œœ œœ œœ # wœœ œœ œœ œœ œœw œœ œœ œœ

811
b b œ. œ. œ. œ. œ. œ. œ. œ. œœ. œœ. œœ. œœ. œw. œ. œ. œ.

819
&
####
# B/D # #/B # and David Foster
> j j j j . . j
63 "Hard to Say I'mE Sorry" PeterGCetera
œ
A/C
?&b b b 44œ˙ œ œŒ Œ œœ œ œ˙ œ Óœ œ Œœœ œœ œ œ Ó œ Œ œœ œœ œ˙œ œŒ œ Œ œœ Œœ œœ œ œ

3 3 3 3 3 3
? b b b b ˙∑ œ œ œJ œ∑ ˙œ. ∑ œ œ œ ˙ ∑ œ œ œ ˙J∑
> . >
œ œ œ
J ∑ .
? #### ˙ ˙ œ œ
3
#˙3 3
#b#b b# # C m
# # #
b
815 F /A B sus4 B
&
& b œ
65
œ œ œ œ˙ œ œ œ œ . œœ œœ ˙˙
YT: zS-_wGmn8jk
Figure 14.4.26: ˙ Bublé,

œ Chang,˙ and Foster-Gilles, “Haven’t
œ œ Met ˙You Yet”
?
? b#b#b b# # œ∑ n∑œ ∑ ∑ ∑ ∑ ∑ ˙ ∑ ∑˙ ∑
Sara
"LoveBareilles
Song" b #˙
F/A B bsus2 D/F #
&b œ œ œ œ
Gm C Dm C/E F
œœœ œœœ œœœ œœ œœœ œœœ œœœ œœ œœ œœ œœ œ

67
œœ œœ œœ œœ œ j œ œ œ œ # œœ
j j œj
? b Œ ‰ j ‰ œj Ó ‰œ ‰œ Ó ‰ œ ‰ Ó ‰ j‰ j
œ œ œ œ #œ œ
œ œ œ œ œ #œ
ww ww ww
71 "root position" "first inversion" "second inversion"
& www ww wYT: qi7Yh16dA0w wG www

C wFigure 14.4.27:
E w
Bareilles, “Love Song”
? ∑ w ∑ wE ∑ wG
wC
In Holding
the next section, we will examine accompanimental
David Foster, textures consisting
"Who's Donna
root of chord Now" note
is lowest third of chord is lowest note Jay Graydon,
fifth of chordRandy Goodrum
is lowest note
#### 4
of afterbeats andBadd2 offbeats.
# #
œœœ ˙˙˙ j j
77 D m7 G m7
& # 4 œœœ .. J œœ œœ œœœ ˙˙˙

. œ. œ
? # # # # 44 ww œ. œ j
# J œ ˙
14.5 Afterbeats and Offbeats
14.5.1 Afterbeats
The term “afterbeats” is from Fundamentals of Musical Composition by noted

composer and pedagogue Arnold Schoenberg. “Afterbeats” are repeated
chords (usually eighth notes, sometimes quarter notes) that occur after the
downbeat.
59
œ n œ œ œ œ œ b œ Œ œ.
sempre piano e dolce
b ˙.
& b bb C w ˙ ˙
815
œ œ œ œ œ œ œœ œœ œœ
? b b b C Œ œœ œœ œœ Œ œœ œœ œœ Œ œœ œœ œœ Œ œ œ œ Œ œ œ œ
b
T
b . œ
& b bb œ œ Œ œ œ œ œ œ œ œ œ ˙ œ œ ˙. œ œŒÓ
820
œ œ œ œ œ œ œ œ œ œœ
? b b b Œ œœ œœ œœ Œ œœœ œœœ œœœ Œ œ œ œ Œ œ œ œ Œ œ
b
j ˙ ˙ œ œ œ œ œ œ œ œ
825
2
& 4 Figure
œ
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14.5.1: Beethoven, Piano Sonata Op. 2, No. 1, IV

p
& 42 ‰ ‰ œœ œ œ ‰
œ œ œœ œœ œœ œ
œ œ #œ
œ œ œ œ œ œ #œ œ
829
&In the ˙ but instead are

˙ not repeated chords
next example, the afterbeats are
f
passing–tone figures harmonized in thirds.
? ‰ œœ œœ œœ ‰ œœ œœ œœ
&œ
œ
? b b b Œ œœ œœ œœ Œ œœœ œœœ œœœ Œ œ œ œ Œ œ œ œ Œ œ
b
14.5. AFTERBEATS AND OFFBEATS 177
j ˙ œ œ œ œ œ œ œ œ
825
& 42 œ ˙
p
& 42 ‰ ‰ œœ œ œ
œ œ
‰
œœ œœ œ
œ œ #œ
œ œ
œ œ œ
& œ œ
829
œ #œ œ ˙ ˙
f
& œ ? ‰ œœ œœ œœ ‰ œœ œœ œœ
œ
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Figure 14.5.2: Mozart, Piano Sonata K. 279, III
14.5.2 Offbeats
Offbeats are typically chords that occur regularly on upbeats, avoiding down-
beats. While there are many styles of music that use chordal offbeats, in this
section we will consider only polka and reggae styles.
14.5.2.1 Polka
The polka, which originated in Bohemia, has connotations with Germary and
Oktoberfest. The polka in the United States is often associated with Frankie
Yankovic, who was known as the “Polka King.”
b œ œ. œ. œ. . . . .
‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ
Accordion
& b b 44 œ œœ. ‰ œœ ‰ œœ ‰ œœ
60832
J J J J J J J
? b b 44 œ œ
Piano & Ac. Bass
b œ œ œ œ œ œ œ
b
&bb
834
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Figure 14.5.3: Vejvoda, “Beer Barrel Polka”
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b
14.5.2.2 Reggae
Reggae is associated with the island of Jamaica and, in the most elemental
sense, is characterized by offbeats, often played on an electric guitar. Bob
Marley is closely associated with reggae music.
# # 4 œ .. œ œœ œ.
Clavichord
œ≈œ œ
17
j
& 4 œ œ ≈œœ Ó Ó
œ
œ œ. œ œœ
√
? # # 44 œ œ ≈ œ ‰ . œ œ œ œ œ œ œ œ ≈ œ ≈ œ ≈ œ œ œ œ œJ ‰
Muted Elec. Gtr.
R
# #Elec.
4 ‰
Gtr.
j j j j ‰ œœj ‰ œœj ‰ œœj ‰ j
& 4 œœ ‰ œœ ‰ œœ ‰ œœ œœ
? ## 4 ‰ ‰. r ‰ ‰. r ‰ ‰ ≈ r ‰ Œ
Elec. Bass.
4
œœ œ œœ œ œœ œ œœ
#
& # ∑ ∑ ∑ ∑YT: Mm7muPjevik ∑ ∑ ∑ ∑ ∑ ∑ ∑
19
bb 4 œœ ‰ œœ. ‰ œœ. ‰ œœ. ‰ œœ. ‰ œœ. ‰ œœ. ‰ œœ.

Accordion
Marley, “Could You Be Loved”
b
60832 Figure 14.5.4:
& # 4 œ œ.
? œ œ œ œ œ œ œ
# ∑ ∑ ∑ J ∑ J ∑ J ∑ ∑ J ∑ J ∑ J ∑ J∑
? b 4 œ œ
Piano & Ac. Bass
#b# b 4∑ œ ∑ œœ ∑ œ œ œ œ œ
By the late 1970s, British bands like The Police and UB40 were recording
& œ∑ ∑œ ∑ œ∑ œ∑ ∑œ ∑œ ∑
songs that used the reggae accompanimental style.
834
j j j j
Dm B¯/C C
? #b# 4 ∑Œ ∑ ∑‰ œj ‰∑ œj ‰∑ œj ‰ ∑œj ∑ ‰ œœ ∑ ‰ œœ ∑‰ œœ ∑‰ œœ ∑
Elec. Gtr.
& 4 œœ œœ œœ œœ œœ œœ œœ œœ
. . . . . . . .
? b 44
Elec. Bass
œ. œ œ ˙. œ. œ œ ˙. œ. œ œ
&b
837
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Figure 14.5.5: Sumner, “Walking on the Moon” (1979)
?b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? b 44
Elec. Bass
œ. œ œ
14.5. AFTERBEATS AND OFFBEATS ˙. œ. œ œ ˙. œ. œ œ179
7
b b b 4 ‰ œj ‰ œj ‰ œj ‰ œj ‰ œœj ‰ œœj ‰ œj ‰ œj
Elec. Gtr. D¯ G¯ A¯/E¯ G¯/A¯
b
& b 4 œœ œœ œœ œœ œœ œœ
œ œ
?Accordion
b b b b b 44 œ œ
Elec. Bass
œ œ
b .
œ .œ œ œ .
œ œ . œ . .
œ œ œ œ .œ . œ. œ œ
œœ.
& b b 44 œ œœ. ‰ œœ ‰ œ . œœ ‰œ œœ ‰ œœ ‰ œœ ‰œ œœ ‰œ
60832
œ
D¯: I J IV J J V/5thJ J IV/5̂J J
? bbbbb b b44 œ œ
Piano & Ac. Bass
œ œ
839
& b œ œ œ œ œ
œ œ YT: GVVZ_O0_vUc
œ œ œ œ œ
? bb b
Figure 14.5.6: Diamond, “Red Red Wine” (recorded in 1983 by UB40)
∑ ∑ ∑ j∑ j ∑j j∑
834
bb
Dm B¯/C C
j j j j œœ ‰ œœœ ‰ œœ
& 44 Œ
b ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœœ ‰
Elec. Gtr.
œ. œ. œ. œ. œ. œœ œ. œœ
. .
? b 44
Elec. Bass
œ. œ œ ˙. œ. œ œ ˙. œ. œ œ
7
Elec. Gtr. D¯
j ‰ j texture j j j j j j
G¯ A¯/E¯ G¯/A¯
b b b b accompanimental
4 ‰ ‰ œ is‰ fairly
œ ‰ œ ‰in œ
the ‰present
œ ‰ œ
& b 4 œfollowing œ œ œœ œœ œ œ œœ œœ as
can be heard in theœ œœ examples. œ œ
Reggae common day,
? b b b 44 œ œ
Elec. Bass
bb œ œœ œ œ œ œ. œ œ œ
. œ. œ œ. œ
D¯: I IV V/5th IV/5̂
E F˜m/C˜ E F˜m/C˜
#### 4 ‰ j ‰ j ‰ j j ‰ œj ‰ œj ‰ j ‰ j
839
œœ ‰
Elec. Gtr.
& 4 œœ œœ œœ œœ œœ œœ œœ
œ. œ. œ. œ. . . œ. œ.
? # # # # 44 Œ ‰
Elec. Bass
œœ≈œœ œ. œœ≈œœ œ
œ . . œ . . . œœ
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Figure 14.5.7: Stefani and Stewart, “Underneath It All” (2001)
180 CHAPTER 14. ACCOMPANIMENTAL TEXTURES 61
F˜
Gtr. j j j j
B
# # # # Elec.
4 œ œ œœ ‰ œœ j j j j
V # 4 œ. ‰ œ ‰ œ
œ. ‰ œ. œ. ‰ œœ ‰ œœ ‰ œœ ‰ œœ
841
œ. œ. œ. œ.
? # # # # 44 Œ ≈ ‰ Œ ≈ ‰ j
Elec. Bass
# œ # œ œ œ œ œ ‹œ
œ œ œ œ
####
G˜m
j j j j E œ. . . .
843
V # ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœœ ‰ œœœ ‰ œœœ

œ. œ. œ. œ. J J J J
? ####
# œ œ Œ ≈
œœ
‰ j
#œ œ œ
Œ ≈
œ
œœ œ
####
#
845
V YT: BFG0aiDrmUk
Figure 14.5.8: Mraz, “I’m Yours” (2007)
? #### ∑ ∑
#
2
G¯ A¯ D¯ B¯m A¯
b
& b b b b 44
Muted Elec. Gtr.
‰ ‰ œœ ‰ œœ œœ œœ œœ ‰ œœ œ ‰ œ
œœ œœ œœ œœ œœ œœ œœ œœ
12
œ œ
j j j j j j
b b b 4 ‰ œj ‰ œj ‰ œœ ‰ œœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ
Elec. Gtr.
b
& b 4 œœ œœ œ. œ. . . . .
12
. .
? b b b 44 Œ ≈œ œ Œ ‰
12 Elec. Bass
bb œ œ œ œ. œ œ . œ œ œ œ.
œ. œœ
D¯: IV V I vi V
b
& b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
14
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b
& b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
14
Figure 14.5.9: Atwey, Messinger, Pellizzer, Spivak, Tanas, “Rude” (2013)
? bb b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
14
bb
b
& b bbb ∑ ∑
30
14.6. THE 3–2 CLAVÉ 181
14.6 The 3–2 Clavé
The 3–2 clavé (and the 2–3 clavé) are essential rhythmic elements in Afro-
Cuban music. In this section we will see how cross rhythms implied by the 3–2
clavé can be viewed as a possible source of cross rhythms in popular music.
Here is a video demonstration of a 3–2 clavé.
images/video-191.jpg
YouTube: https://www.youtube.com/watch?v=dxVeiPQ1juo
Here is rhythmic notation of a 3–2 clavé. Notice there are three attacks 23
in
419 the first measure and 2 attacks in the second bar.
23
ã 44 Û ‰ Û Œ Û Œ Û Û Œ
419
ã 44 Û ‰ JÛ Œ Û Œ Û Û Œ
The J
1 rhythm
3 underlying
1 2 the 3 first
1 bar2 is 3+3+2.
> 1 2 3 > 1 2 3 >1 2
421
2
ã >Û Û Û > Û Û Û > Û Œ

Û Û Û Œ
421
4
ã4 Û Û Û Û Û Û Û Û Œ Û Û Œ
423
ã
423
The 3–2 Clavé has also been called the “Bo Diddley Beat” because of its use
ã 44 Û 44 Û ≈ Û ‰ Û Ó
3+3+2 in in
eighths note Look at the rhythms
3+3+2 in shown
sixteenth notesas you listen
‰ Û Œ Û
by Bo Diddley the 1950s. above
to the following examples.
J J
440
ã > > >

425
1 2 3 1 2 3 1 2
ã 44 Û Û Û Û ÛYT: 9kAhqaPMsdQ
Û Û Û Ó
447
ã
Figure 14.6.1: Dixon, “Pretty Thing”
426
ã
454
ã
454
ã
YT: 5OOcnPVdKrs
Figure 14.6.2: Berns, Feldman, Goldstein, and Gottehrer, “I Want Candy”

YT: LKdHy18rZcI
Figure 14.6.3: Ballard, “Back in the New York Groove”
YT: oOmUCbDofo4
Figure 14.6.4: Michael, “Faith”
23
419 YT: z8rQ575DWD8
ã 44 Û ‰ Û Œ Û Œ Û Û Œ 23
23
J
419
ã 444 Û
Figure 14.6.5: U2, “Desire”
‰ Û Œ Û Œ Û Û Œ
419
ã 4 Û>1 2 ‰ 3 JÛ>1 Œ2 3 Û >1 2 Œ Û Û Œ

421
4 The 3+3+2 J Rhythm

ã 41 Û 2 Û 3 Û 1 Û 2 Û 3 Û 1 Û 2 Û Œ Û Û Œ
14.6.1
> 1examples > >
421
Û Û Û Û Û Û Û Û Œ Û Û Œ
In the below, only the first bar of the 3–2 clavé is used. Below, the
ã4 > > >
421
2 3 1 2 3 1 2
3+3+2 rhythm is shown in both eighth notes and sixteenth notes.
423
Û Û Û
ã 4 3+3+2 in eighth notes Û Û Û Û Û 3+3+2 Œ in sixteenth
Û notes Û Œ
ã 443+3+2Û ‰ Û Œ Û 44 Û ≈ Û ‰ Û Ó
J J
423
in eighths note
Û 3+3+2‰ in eighths
Û Œnote Û Û 3+3+2
≈ Ûin sixteenth
‰ Û notes Ó
3+3+2 in sixteenth notes
ã 4The
423
425
ã 4 1Û> 2 ‰ 3Û Œ1> 2 Û 3 4>1 Û 2 ≈ Û ‰ J Û Ó
example Jbelow shows the sixteenth–note 4 subdivisions in the 3+3+2
J J
ã 44 Û1 Û2 Û3 1Û 2Û 3Û Û1 2Û Ó
rhythm.
1> 1> >1 2

425
4 Û> Û Û Û> Û Û Û
> Û Ó
ã 44
425
2 3 2 3
ã4 Û Û Û Û Û Û Û Û Ó
44Below Ó 44ways Û Ó 44theÛsixteenth–note
. Û ‰ Û Ó 44version
426
ã Û ≈ Ûare‰ Ûdifferent Û ‰ Ûof‰ notating Û . Û . Û3+3+2

Ó
426
rhythm. J J J
ã4
ã 4 Û ≈3Û+‰ Û3Ó + 244 Û3‰ +Û ‰ 3Û Ó+ 2 44 Û . Û ‰3 Û+ Ó3 + 244 Û3.+Û .3Û Ó+ 2
426
1 2 3 1 J2 3 1 2 1 2 3 1 2J 3 1 2 1 2 3J 1 2 3 1 2 1 2 3 1 2 3 1 2
4 . Û Û Û Û. Û Û Û 4 Û. Û. Û Û. Û. Û 4
ã 4TheÛ first
430
454
example, by the Rebirth Brass Band, uses a “second line” drum-
ã
ming
430 pattern, which is associated with second line parades in New Orleans.
ã 1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2
> > > > > >
432
ã4 4 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
14.6. THE 3–2 CLAVÉ 183
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Figure 14.6.6: Calloway, “Casanova”
The well–known introduction to “Eye of the Tiger” uses the 3+3+2 rhythm.
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Figure 14.6.7: Sullivan and Peterik, “Eye of the Tiger”
In the following example from Cyndi Lauper’s “Girls Just Want to Have
Fun,” the lead electric guitar riff emphasizes a 3+3+2 rhythm in 16th notes
on each downbeat.
Elec. Gtr. 1 2 3 1 2 3 1 2 123 123 12

bb 4 j œœ .œ œœ ‰ œœj œœ
& b b b b 4 œœ .œ œœ ‰ œœ œœ Œ œœ
j
Keyboard (Polysynth patch) 23
419
b b b b b 4 œœ ‰ œœ œœ Œ ∑
&4 b 4 œ œ. œ
ã 4 Û Organ‰ Û Œ Û Œ Û Û Œ
b b b b b 4 ‰ Jœœ. œœ. ‰ œœ. œœ. ‰ œœ. œœ. ‰ œœ. œœ. .. ..
‰ œœœ œœœ ‰ œœœ œœœ ‰ œœ œœ ‰ œœ œœ
& 1 b 24 3 œ1œ 2 œ œ3 œ1œ 2 œ œ œ. œ. œ. œ.
4 Û>Muted > >
421
ã?4 b b 4 œ. œ. ≈ œ. ≈ œ. œ. œ. ‰ ‰ Û œ œ
Û Û Û Û Û Û Œœ. œ. ≈ œ.Û œ. œ. Û j Œ.
Elec. Gtr.
b b bb 4 J ≈ œ. ‰ œJ ‰
? b b3+3+2 4in eighths note

423 Elec. Bass
4 bÛ b b b 4‰ Û Œ j Û 44 Û ≈ Û ‰ Ûj Ó
3+3+2 in sixteenth notes
ã4 œ. J œ ˙ œ. œJ œ
œ
> > YT: PIb6AZdTr-A

>
425
1 2 3 1 2 3 1 2
3 4
Û Û
ã 4 b bb b ∑
b Û Û Û Û Û Û Ó
∑ and∑ Wittman,
&Figureb 14.6.8: Chertoff ∑ “Girls∑ Just Want
∑ to Have
∑ Fun”∑
4 b bÛb b≈b bÛ ‰ Û∑Ó 4∑ Û ‰ Û ∑‰ Û Ó ∑ 4 Û . ∑Û ‰ Û Ó ∑ 4 Û∑. Û . Û Ó∑

426
&
ã 4Below is an example4 showing the 3+3+2 4 rhythm (in 16th4 notes) immedi-
J J J
b
ately repeated. The rhythm is shown in two possible notations below.
& b b b3b b + 3∑ + 2 ∑ 3 + ∑ 3 + 2∑ ∑ 3 + 3∑+ 2 3∑ + 3 +∑2
ã 44 Û . Û Û Û Û . Û Û Û 44 Û . Û . Û Û . Û . Û
430 1 23 1 2 3 12 123 1 2 3 12 12312312 12312312
? bb b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
bb
The following three examples all use the (3+3+2)+(3+3+2) rhythm as a
ã? b b b b b b
432
rhythmic ostinato or groove.
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
443
ã
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Figure 14.6.9: Legend and Gad, “All of Me”
450
ã
Notice that this progression is from the Best–Seller progression.
23
419 14.6. THE 3–2 CLAVÉ 185
J
YT: lY2yjAdbvdQ
> > >

421
1 2 3 1 2 3 1 2
4 Figure
ã4
14.6.10: Mendes, Geiger, and Harris, “Treat You Better”
423
ã 44 Û 44 Û ≈ Û ‰ Û Ó
3+3+2 in eighths note 3+3+2 in sixteenth notes
‰ Û Œ Û
J J
YT: jVCxZlpj8dw
>14.6.11: Sheeran,
> Mac, McDaid,>Burruss, Cottle, and Briggs, “Shape
425
1 2 3 1 2 3 1 2
4 Û Û Û Û Û Û Û Û Ó
ã4
Figure
of You”
ã 44 Û ≈ Û ‰ Û Ó
44 Û ‰ Û ‰ Û Ó 44 Û . Û ‰ Û Ó 44 Û . Û . Û Ó
426
This rhythm also occurs in the following classical piece by Ligeti.
J J J
YT: W6HQ2Za75k0
3 + 3 + 2 3 + 3 + 2 3+ 3+2 3+ 3 +2
ã 44 Û . 44 Û . Û . Û Û . Û . Û
3 1 2 1Ligeti,
2 3 1 2Trio
3 for
1 2 Violin,1Horn, and Piano, II
Û Û Û Û.
1 Figure
2 3 1 2 14.6.12:
Û Û Û
430 2312312 12312312
The following examples have the (3+3+2)+(3+3+2) rhythm in 8th notes.
> > > > > >

432
1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2
4 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
ã4
434
ã
YT: d020hcWA_Wg
450Figure 14.6.13: Berryman, Buckland, Champion, and Martin, “Clocks”
YT: h_L4Rixya64
Figure 14.6.14: Grohl, Hawkins, Mendel, Shiflett, “Best of You”

24 3 + 3 + 3 + 3 YT:
+ 3PIh2xe4jnpk
+ 3 + 3 + 3 +2+ 2 +2+ 2
> >14.6.15: > Atwey,

> Messinger,
> > Pellizzer,
> Spivak,
> Tanas,
> > “Rude”
> >
1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 1 2 1 2 1 2
4 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛÛÛÛÛÛÛ
435
Figure
ã4
24 3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 +2+ 2 +2+ 2
3
14.6.1.1 Habanera + and 3 Reggaeton
+ 4 + 3 + 3
4 > >
Û> Û > > >
‰ > Û> Û> >Û . > >
ã 4 Û.
437 11 2 32 1 32 3 11 2 32 1 23 3 1 12 3 21 32 3 41 2 13 1 22 3 31 2 1 12 1 22 13 2
ã 44 reggaeton
Û Û Û Û Ûbeat
Û ÛisÛbuilt
Û Û Ûfrom
Û ÛaÛ3+3+2 Û
Û Û Ûrhythm.
Û Û Û ÛWe
Û Ûwill
Û ÛseeÛ Ûa relationship
ÛÛÛÛÛ
435
J
The
between the reggaeton beat with the habanera. First, let us examine the
famous “Habanera” bass line from the opera Carmen.
3 + 3 + 4 + 3 + 3
?4b Û421. 2 ≈Û œÛ œ. Û œ ≈ œ
Û œ Û . Û. œ
438 437
3 1 3 1 1 1 2
‰
2 2 3 4 2 3 3
ã4 œ. . œ. .
J
?
440
? bb 42 ≈ œ œ. ≈ œ œ.
438
œ. œ.
YT: iqlUlr2yzY8
œ.
Figure 14.6.16:
œ
.
Bizet, Carmen, Habanera (“L’amour est un oiseau rebelle”)
?b
447
?b ≈ œ ( œ. ) œ ≈ œ (œ. ) œ
440
23
Compare the habanera pattern. above to the reggaeton beat below,. notated
œ œ.
419
bass .drum and snare drum.

for 4
ã4 Û ‰ Û Œ Û Œ Û Û Œ
?b
454
J
Snare Drum
ã 44 œ1 ≈2œ œ3 œ 1 œ 2 ≈ œ3 œ 1 œ 2 œ ≈ œ œ œ œ ≈ œ œ œ
442
> > >

421
4Bass
ã4 Drum
Compare the “reggaeton” rhythm to the 3+3+2 of the first bar of a 3–2
444
ã
clavé (refer to the second measure in the example below).
423
ã 44 Û 44 Û ≈ Û ‰ Û Ó
3+3+2 in eighth notes 3+3+2 in sixteenth notes
‰ Û Œ Û
J J
Here are examples of songs with a reggaeton beat.
> > >
425
1 2 3 1 2 3 1 2
4 Û Û Û Û Û Û Û Û Ó
ã4
YT: VQqwea8ZSbk
ã 44 Û ≈ Û ‰Figure 44 Û ‰ ÛJohnson
‰ Û Ó and44 Browne, 44 Û . Û . Û Ó
426
Û Ó 14.6.17: Û . Û ‰ Û“Dem
Ó Bow”
J J J
3 + 3 + 2 3 + 3 + 2 3+ 3+2 3+ 3 +2
ã 44 Û . Û Û Û Û. Û Û Û 44 Û . Û . Û Û . Û . Û
430 1 23 1 2 3 12 123 1 2 3 12 12312312 12312312
14.6. THE 3–2 CLAVÉ 187
YT: 6vjv9O4c1do
Figure 14.6.18: Graham, Jefferies, Shebib, Balogun, Reid, Smith, “One

Dance”
YT: kJQP7kiw5Fk
Figure 14.6.19: Rodriguez, Ender, and Ayala, “Despacito”
Notice that the progression for “Despacito” comes from the Best–Seller
progression.
YT: 8ELbX5CMomE
Figure 14.6.20: Bieber, Michaels, Tranter, Moore, and Tucker, “Sorry”
YT: FjvxZO4BX38
Figure 14.6.21: Ørsted, Parmenius, and Emenike, “Final Song”
YT: DCBmhs4dYzc
Figure 14.6.22: Levine, Ryan, Hindlin, Tranter, and Shaouy, “Cold”
In the next two sections, we will examine expansions of the 3+3+2 rhythm
14.6.2 3+3+3+3+2+2
In this section, we will see each number in the 3+3+2 pattern repeated, gen-
erating the 3+3+3+3+2+2 pattern.
> > > > > >
1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2
ã44 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
3 + 3 + 3 + 3 + 2 + 2
4 > > > > > >

1 2 3 1 2 3 1 2 3 1 2 3 1 2 1 2
ã4 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
434
Listen for the 3+3+3+3+2+2 rhythm in the following examples.
YT: co6WMzDOh1o
Figure 14.6.23: U2, “Beautiful Day”
YT: PKRuEY68BVA
Figure 14.6.24: Frances and Reid, “You Know You Like It”
YT: cLyUcAUMmMY
Figure 14.6.25: Bennett, Glynne, Patterson, and Wroldsen, “Hold My Hand”
14.6.3 8 Groups of 3 Plus 4 Groups of 2
the 3+3+2 pattern can also be expanded to 8 groups of 3 sixteenth notes

followed by 4 groups of 2 sixteenth notes, as shown in the example below.
24 3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 +2+ 2 +2+ 2
> > > > > > > > > > > >
1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 1 2 1 2 1 2
ã 44 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
435
Listen for this rhythm in the examples below.
#
ã #
437
?
14.6. THE 3–2 CLAVÉ 189
1. c˜: N6 2. b: N 3. G: ¯VII7 4. d: viio65/V 5. F: N46 6. f˜: N6
3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 +2+2 +2+ 2
# # 4 œ . >œ ‰ >œ œ >œ ‰ >œ . >œ ‰ >œ œ >œ ‰ >œ >œ > >œ
>
664
123 1 2 3 1 2 3 1 2 3 123 1 23 1 2 3 1 2 3 12 1 2 1 2 1 2
& 4 J J œ #œ
YT: Rc5IQoCFqL8
Figure 14.6.26: Parker, Jr., “Ghostbusters”
YT: XjVNlG5cZyQ
Figure 14.6.27: Pink, Martin, Schuster, “Raise Your Glass”
YT: IIkqOLvuQNo
Figure 14.6.28: Too Many Zooz, “Warriors”
14.6.3.1 Other Combinations of 3s and 2s
You will also find other combinations of 3s and 2s (or 3s and 4s).
? ####
# œ œ Œ ≈
œœ
‰ j Œ ≈
#ACCOMPANIMENTAL
œ œ œ œ œ œ
190 CHAPTER 14. œTEXTURES
b b b 4 œœœ ... œœœ œœœ œœœ ‰ œœœ œœœ œœœ ... œœ .. œœ œœ œœœ œœœ œœœ œœœ ...
Fm E¯ D¯
œ. œ œ ‰ J
845
& b 4 J
? bb 4
b b 4 œ . œ œ œ ‰ œj œ œ . œ. œ œ œ
‰ j
œ œ œ.
b b b3b + 3 + 3 + 3 YT:
847
&
KQ6zr6kCPj8
24 + 3 + 3 + 3 + 3 +2+ 2 +2+ 2
Figure 14.6.29: Stefan Gordy and Skyler Gordy, “Party Rock Anthem”
44 >Û Û Û >Û Û Û >Û Û Û >Û Û Û >Û Û Û >Û Û Û >Û Û Û >Û Û Û >Û Û >Û Û >Û Û >Û Û
435 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 1 2 1 2 1 2
ã? b b bb ∑ ∑ ∑ ∑
Notice that this progression is from the i–VII–VI–VII progression. The ∑ ∑
rhythm in the above example is dissected below.
3 + 3 + 4 + 3 + 3
4
ã 4 Û. Û.
437
1 1 1 1 1
Û Û Û ‰ Û Û
2 3 2 3 2 3 4 2 3 2 3
J
Listen for the 3+3+4+3+3 rhythm in the following examples.
#
ã #
438
YT: SeIJmciN8mo
Figure 14.6.30: Maraj, Khayat, Falk, Yacoub, Hector, and Hajji, “Starships”
YT: iS1g8G_njx8
Figure 14.6.31: Martin, Kotecha, Salmanzadeh, Kelly, Grande, “Problem”
One also finds the 3+3+4+3+3 pattern in the second bar of “Tik Tok,” an
example from earlier in the chapter.
14.7. DISTINCTIVE BASS LINES 191
4
& b 44 œ . œ œ œ Œ ‰ œj œ . œ œ œ œ œ œ œ . œ . œ œ œ Œ ‰ œj œ . œ œ œ œ œ œ œ .
Keyboard 1
? 4 . j j
b 4 œ œ œ œ Œ ‰ œ œ.œ œ œ œ œ œ œ. œ. œ œ œ Œ ‰ œ œ.œ œ œ œ œ œ œ.
> >œ >œ >œ >œ >œ >œ >œ

? 4 œœœ
Keyboard 2
b 4 ‰ œœ Ó œœ ‰ œœJ Ó œœ ‰ œœ Ó œœ ‰ œœJ Ó
J J
? b 44 ‰ jÓ ‰ jÓ ‰ jÓ ‰ jÓ
> > > > > > > >
YT: iP6XpLQM2Cs
Figure 14.6.32: Sebert, Gottwald, Blanco, “Tik Tok”
Notice that this progression comes from a rotation of the i–VII–VI–VII

progression. ©
14.7 Distinctive Bass Lines
Sometimes the identity of a song is in its repeated bass line (known as a “riff,”
which is a short repeated pattern). Listen to the distinctive bass lines in the
following examples.
YT: KjuF89RvfIA
Figure 14.7.1: Winner, “Little Brown Jug” (1939)
YT: eeFpUDCyTUo
Figure 14.7.2: Lennon–McCartney, “Day Tripper” (1965)

YT: TBMuGCw8hJY
Figure 14.7.3: The Sugarhill Gang, O’Brien, Robinson, Rodgers, Edwards,

and Grandmaster Caz, “Rapper’s Delight” (1979)
YT: rY0WxgSXdEE
Figure 14.7.4: Deacon, “Another One Bites the Dust” (1980)
YT: QYHxGBH6o4M
Figure 14.7.5: James, “Superfreak” (1981)
YT: a01QQZyl-_I
Figure 14.7.6: Bowie, “Under Pressure” (1981)
YT: JtpX8KBT768
Figure 14.7.7: Kelly, Aitchison, Astasio, Pebworth, Shave, McKenzie,

“Fancy” (2014)
YT: a5qZOMQ1qys
Figure 14.7.8: Haggerty, Lewis, Dutton, Nally, Karp, Rawlings, Asplund,

Flory–Barnes, Haggerty, “Downtown” (2015)
14.7. DISTINCTIVE BASS LINES 193
14.7.1 Distinctive Guitar Riffs

You will also find distinctive riffs played by guitar in conjunction with bass, as
in the following examples.
YT: fTTsY-oz6Go
Figure 14.7.9: Davies, “You Really Got Me” (1964)
YT: y8OtzJtp-EM
Figure 14.7.10: Page and Plant, “Immigrant Song” (1970)
YT: tA5A_AcBKvs
Figure 14.7.11: Tyler and Perry, “Walk This Way” (1975)
YT: pAgnJDJN4VA
Figure 14.7.12: A. Young, M. Young, and Johnson, “Back in Black” (1980)
This chapter is meant to give you ideas about animating chords and chord
progressions with accompanimental textures, including riffs. It is by no means
meant to be exhaustive, but rather to encourage you to listen closely to texture
and accompaniment.
Chapter 15
Creating Contrast Between Sec-

tions
In this chapter, we will explore how a composer or arranger can create contrast
between different sections in a piece of music.
15.1 The Elements of Music

Creating contrast usually involves varying one or more of the “Elements of
Music,” which are listed and explained below.
Melody
We all know what melody is, but don’t confuse
melody with ostinato! Melody lives and breathes
and has variety.
Harmony
In this section, we will associate harmony with
key and mode (major versus minor).
Rhythm
What the most common rhythmic value is in a
section.
Timbre
The different tone colors of different instruments,
and the different tone colors an individual
instrument can produce.
Texture
Described in the previous chapter as existing in
the vertical plane (the number of voices) and the
horizontal plane (rhythmic activity of the various
voices).
Articulation
Staccato versus legato, or short, clipped notes
versus long, sustained or connected notes.
Dynamics
Loud versus soft.
Register
High versus middle versus low.
Table 15.1.1: The “Elements of Music”
195
196 CHAPTER 15. CREATING CONTRAST BETWEEN SECTIONS
In the next two sections we will look at how two different pieces exhibit
contrast between various sections using the elements of music.
15.2 Mozart, Eine kleine Nachtmusik, K. 525, II.
The second movement of Mozart’s Eine kleine Nachtmusik is a five–part rondo

form (ABACA).
Let us examine the elements of music in the first section (the A section).
.
œ œ œ . œ œ œ œ œ œ . œ œ œJ œ œJ œ. œ œ œ œ œ œ œ . œ
œ‰
Vln. I & C J ‰J ‰ J J‰ J J ≈ ≈ J
Violino I
p
j j j j
Vln. II & C œj‰ œj ‰ œ œ œ œ œ œ œ . œ œj‰ œ. œ œ œ. œ œ œ œ ≈ œ œ ≈ œ . œ œj‰
œ
Violino II
œ
p
Vla. Viola BC Ó ∑ ∑ ∑ ∑
?C Ó œ
Vc.
Violoncello
œ œ œ œ œ œ Œ œ Œ œ œ œ
œ
p
e Contrabasso
∑ ∑ ∑ YT: o1FSN8_pp_o
∑ ∑ ∑ ∑
14
Vln. I &
Figure 15.2.1: A Section, Second Movement, Eine kleine Nachtmusik
Vln. II
& ∑ ∑ ∑ ∑ ∑ ∑ ∑
Notice how Mozart expresses the various musical elements:
Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑
Harmony
The key is C major
Vc.
? ∑
Rhythm
∑ The 8th ∑note is most
∑ common∑ rhythmic∑value, ∑
though the phrase begins with quarter–note values
Texture
The top two instruments are grouped together
against a simple bass part
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
21
Vln. I & Articulation

Generally legato
Dynamics Soft
& ∑ ∑ ∑ extremely
∑ high ∑nor low ∑ ∑ ∑
Register
Vln. II Neither
Table 15.2.2: A Section, Second Movement, Eine kleine Nachtmusik
Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Here is the beginning of the second section (the B section):
Vc.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?C Ó œ
Vc.
Violoncello
œ œ œ œ œ œ Œ œ Œ œ œ œ œ C
p
e Contrabasso
15.2. MOZART, EINE KLEINE NACHTMUSIK, K. 525, II. 197
œ. œ. œ. œ. œ œ œ œ œ œ œ œ. œ. œ. œ. # œ œ œ. œ. # œ. œ.
14
Vln. I &C J ‰
p
&C œ j ‰ œ œ œ. œ. œ.
œ. œ. œ. # œ œ . . œ. œ. œ œ œ œ œ nœ œ œ
Vln. II
p. .
. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ.
a. BC œ Œ œ Œ
p. . . .
œ œ œ œ œ œ. œ. œ. œ.
?C Œ œ. œ. œ. œ. Œ
œ
p
& ∑ ∑ ∑ ∑ YT: o1FSN8_pp_o

∑ ∑ ∑ ∑ ∑ ∑
17
Vln. I
Figure 15.2.3: B Section, Second Movement, Eine kleine Nachtmusik
Vln. II
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
a. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Here are the most noticeable differences:
Rhythm
8th notes are the most common rhythmic value,
with some 16th–note runs
Texture
All four voices move in the same rhythm at the
beginning of each subphrase
Articulation
Four staccato notes start each subphrase
Table 15.2.4: B Section, Second Movement, Eine kleine Nachtmusik
Now, look at the beginning of the next contrasting section (the C section):
p. . . .
œœœœ œ œ. œ. œ. œ.
?C Œ œ. œ. œ. œ. Œ bbb C
Vc.
œ
198 pCHAPTER 15. CREATING CONTRAST BETWEEN SECTIONS
T T T
b œ. n œ œ. n œ. œ
17
&bb C Œ nœ J ‰ Œ Œ nœ œ ‰ Œ Œ
Vln. I
J
p
b
Vln. II
& b b C œœ œœœœœœ œœœœœœœœœœ œœœœœœ œœœœœœœœœœ œœœœœœ
p
Vla. B bbb C œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ
p T Tn
? bb C Ó . n j
œ œ. j
Vc. b Œ nœ œ ‰ Œ Œ nœ œ ‰ Œ
p
YT: o1FSN8_pp_o
Figure 15.2.5: C Section, Second Movement, Eine kleine Nachtmusik
The following elements are noticeably changed:
Harmony
This section begins in C minor
Rhythm
The accompaniment moves in 16th notes and the
ornamentation of the second melody note (the
turn) in the outer parts sounds as four 32nd notes
Texture
The middle two parts (Violin II and Viola) are
paired together and the Violin I and Cello/Bass
part engage in imitation
Articulation
The middle parts are played in a “separated”
manner (more staccato than legato) and the
motive in the outer voices starts with a staccato
note
Table 15.2.6: C Section, Second Movement, Eine kleine Nachtmusik
Listen to how Mozart puts the entire form together, including transitional
material to smooth out the changes from one section to another.
? bb 4
b b 4 œ . œ œ œ ‰ œj œ œ . œ. œ œ œ
‰ j
15.3. “RUDE” BY MAGIC! œ œ œ 199
.
A B A C A
legato staccato legato staccato legato

8th notes 8th notes 8th notes 16th notes 8th notes
Vn1+Vn2 vs Bass All 4 together Vn1+Vn2 vs Bass Bass imitates Vn1 Vn1+Vn2 vs Bass
C major C major C major C minor C major
YT: o1FSN8_pp_o
Figure 15.2.7: Formal Diagram of Second Movement, Eine kleine Nachtmusik
15.3 “Rude” by MAGIC!

Now we will examine contrast in recent popular music. Here is the musical
example of the texture from the reggae section of this song, as seen in the
2 previous chapter.
G¯ A¯ D¯ B¯m A¯
b
& b b b b 44
Muted Elec. Gtr.
œœ ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œ ‰ œ
12
œ œ
j j j j j j
b b b 4 ‰ œj ‰ œj ‰ œœ ‰ œœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ
Elec. Gtr.
b
& b 4 œœ œœ œ. œ. . . . .
12
. .
? bb 4 Œ ≈œ œ Œ ‰
Elec. Bass
bbb 4
12
œ œ œ œ. œ œ . œ œ œ œ.
œ. œœ
D¯: IV V I vi V
In Verse 1 there is no bass drum, snare drum, or electric bass. All we
b
hear are the voice part and the two guitar parts from the top two staves in
& b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
14
the example above. There are fewer voices occurring on the vertical plane,
creating a light texture.
b
& b b b b ∑ ∑ ∑ ∑ ∑ YT:∑ PIh2xe4jnpk
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
14
? b b b ∑ ∑ ∑Figure
∑ ∑15.3.1:
∑ ∑Verse
∑ 1∑of “Rude”
∑ ∑ ∑ ∑ ∑ ∑ ∑
14
bb
b
& b bbb
The bass guitar and drum groove enter in Verse 2, thickening the texture
∑ ∑
30
and adding the backbeat of the snare drum.
b
& b bbb ∑ ∑
30
30
YT: PIh2xe4jnpk
Figure 15.3.2: Verse 2 of “Rude”
In the pre–chorus, the guitars and bass have legato half notes and quarter
notes while the drummer plays cross–stick eighth notes (if one is counting in a
slow 44 ). Without the snare drum backbeat, the texture lightens.
YT: PIh2xe4jnpk
Figure 15.3.3: Pre–Chorus of “Rude”
The chorus has approximately the same accompaniment as Verse 2 but the
voice parts are in a higher register, repeating a 2–measure subphrase containing
the “hook.”
23
419
J of “Rude”
YT: PIh2xe4jnpk
Figure 15.3.4: Chorus
> > >

421
1 2 3 1 2 3 1 2
The post–chorus 4
ã 4andÛthe Ûbass drum,
Û ÛsnareÛ drum,
Û andÛ hi–hat
Û of Œthe drumÛ Û Œ
emphasizes a (3+3+2)+(3+3+2) rhythm on all instru-
ments (guitars, bass,
set).
423
ã 44 Û 44 Û ≈ Û ‰ Û Ó
3+3+2 in eighth notes 3+3+2 in sixteenth notes
‰ Û Œ Û
J J
4 Û> YT: > >

425
1 2 3 1 2 3 1 2
ãFigure Û Û Û Û Û
4 15.3.5: Post–Chorus of “Rude”
PIh2xe4jnpk
Û Û Ó
ã 44 Û ≈ Û ‰ Û Ó 44 Û ‰ Û ‰ Û Ó 44 Û . Û ‰ Û Ó 44 Û . Û . Û Ó
426
Below is a formal diagram of the first five sections of “Rude.”
J J J
3 + 3 + 2 3 + 3 + 2 3+ 3+2 3+ 3 +2
4 4
430 1 23 1 2 3 12 123 1 2 3 12 12312312 12312312
legato staccato legato staccato legato
8th notes 8th notes 8th notes 16th notes 8th notes
Vn1+Vn2 vs Bass All 4 together Vn1+Vn2 vs Bass Bass imitates Vn1 Vn1+Vn2 vs Bass
18 C major C major C major C minor C major
15.3. “RUDE” BY MAGIC! 201
#
? #Verse j œ 2 j Pre-Chorus Bm Chorus
jVerse j œ
# 441
A
# œ œ œ Œ Ó œ . œ œ œ Post-Chorus
Œ Ó
J J œ
295
œ. œ
staccato A: I staccato legato iistaccato legato elements
? ### j œj œ œj Open hi-hat

8th notes 16th notes whole notes 16th notes 3+3+2 rhythm
j œj œ œj Œ Ó œ Œ Ó
299 E A All instruments
œ. #œ
No bass/drums All instruments No snare drum
œ. ‹œ œ
V I
YT: PIh2xe4jnpk
? ### 4 w w
A D E E A
303
4 w w œ
A: I IV V V I
˙˙˙ ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙

˙ ˙
308
& Figure 15.3.6: First 5 Sections of “Rude”

˙
309
C: I vi IV V versus I vi ii/3rd V
This five–section unit repeats again with Verse 3, Verse 4, the Pre–Chorus,
Chorus, and Post–Chorus.
? 44 ˙
C Am F G
˙
When you listen to the entire piece, you hear how the musicians designate
the form using the elements of articulation, rhythm, texture, and dynamics.
One element that changes very little during entire song is the chord progression,
˙ ˙
C: I progression.
which we examined in the chapter on harmonic vi IV V
G¯≤ A¯≤ D¯≤ B¯≤m

311
? b b b 44 w w
bb w w
While you are likely aware of successful songs in the which very few musical
? bb b
315
bb
elements change, it is worth considering how you can articulate the form of your
compositions and arrangements using the elements of music.
? bb b
323
bb
? bb b
327
bb
Chapter 16
Figured Bass
16.1 Historical Context
In the Baroque era in music (roughly 1600–1750 C.E.), a shorthand was devel-
oped for writing chords. (Lead–sheet symbols are the modern shorthand for
representing chords). Figured bass (also known as thoroughbass) consists
of a bass line notated on a staff accompanied by numbers representing intervals
to be played above the bass note within the key signature. (These figured–bass
numbers are traditionally notated below the bass line.)
Figure 16.1.1: Handel’s handwritten manuscript of Recorder Sonata in A

minor, HWV 362, I. Larghetto
203
20 204 CHAPTER 16. FIGURED BASS
63
œ œ œ
bb Œ œ . œJ œ ‰ # œ ‰œ œ œ œj ‰ œ œ ‰ œ . œ œ # œ œœ.
188
863
3
& 4 œ.œ œ œ j œ 6 œ.œ œ œ œ
œ œ 4+ 7 6 6 7 6 6 6 3
- knock life for us 'Stead of œtreat - ed
œ œ œ. œ œ œ œ œ. œ œ œ
6 7 for6 us, 2 It's a hard
œ
? 3b œ . œ œ œ œ . . œ œ œ œ .
It's a hard - knock life
œ œ.
& 4b ‰ œ œŒ. 3 œœ œœœœœœ œœ œœ 3œœ œœ œœ œœœ 3œœœ œœœ œœœ œœœ œœœ œœœ3 œœœ
188
œ. œ. œ. œ. œ. œ. œ. œ. . . . . . . . .
Figure 16.1.2: Handel, Recorder Sonata in A minor,j HWVj362, I. Larghetto,
? b figured
‰ Œbass realization j j œ ‰‰ œ Ó
867 b
without œ‰‰ œ Ó œ
œ œ œ
& > > > >
œ œ œ œ œ œ œ #œ œ
3 œ. J œ #œ œ
?
& 4 Œ
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
191
œœ œ œ œ œ œœ œœ œ œ œ
3
& 43 œœœ œœœ œœ œ œ œœ # œœ œœ œ œ

191 3 3
3
œ œ œ œ œœ œ œ œ œ
œ. œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ
? 43 œ . œ œ œ œ
884
& œ œ.
œ œ. œ œ. œ œ.
63
4+ 7 7 6 6
3 3 3
6 6
? ∑
6 7 6 2
∑ ∑
∑ ∑
195
& YT: ljj6URbK8Xg
∑ ∑
195
&
?
Figure 16.1.3: Handel, Recorder Sonata in A minor, HWV 362, I. Larghetto,
with figured bass realization ∑ ∑
Like lead–sheet symbols, figured bass allowed a keyboardist or guitarist

freedom in choosing chord voicings. While some early music specialists perform
from scores with the original notation, editions of Baroque compositions by
composers like J.S. Bach and Handel that were originally notated with figured
bass have been “realized” or written out in modern editions.
In the present day, figured bass is taught in music theory courses primarily
as a shorthand for chord inversion symbols (although many music programs
also endeavor to teach students to perform at the piano music written with
figured bass notation).
16.2 Figured Bass Inversion Symbols

Following are the figured bass inversion symbols most commonly used for triads
and seventh chords. (Remember that figured bass numbers represent intervals
above the bass note within the key signature.)
Figured Bass
(or "Bass Position Symbols", or "bps")
16.2. FIGURED BASS INVERSION SYMBOLS 205
Figured Bass
(or "Bass Position Symbols", or "bps")
For Triads:
6 6
6
4
For Triads:
6
Root is the 3rd of the triad 5th of the triad
4
bass note. is the bass note. is the bass note.
Figure 16.2.1: Figured Bass Inversion Symbols for Triads
7
Root is the 3rd of the triad 5th of the triad
bass note. is the bass note. is the bass note.
Root of the seventh chord
is the bass note.
76 Root of the seventh chord

is the bass
Thenote.
3rd of the seventh chord
is the bass note.
65 The 3rd of the seventh chord

For Seventh Chords: 54 is the bass note.
The 5th of the seventh chord
For Seventh Chords: is the bass note.
43 The 5th of the seventh chord
is the bass note.
3
44 The 7th of the seventh chord
The 7th of the seventh chord
is the bass note.
is the bass note.
22
Figure 16.2.2: Figured Bass Inversion Symbols for Seventh Chords
Unlike original figured bass notation in the Baroque era, in music theory
courses, figured bass inversion symbols are placed after Roman numerals.
Compare figured bass symbols to the modified slash notation we have been
using in previous chapters.
29
ww ww www w
www
572
C C/E C/G Am7 Am7/C Am7/E Am7/G
& www w w www wwww w
w
C: I I6 I64 vi7 vi65 vi43 vi42
C: I I/3rd I/5th vi7 vi7/3rd vi7/5th vi7/7th
Figure 16.2.3: Roman Numerals with Figured Bass versus Roman Numerals
with
579 Modifed Slash Notation
&
Because the figures 65 , 43 , and 42 are only used for seventh chords, the “7”
is
589omitted when labeling inverted seventh chords.
&
? b 42
& ww w w
≈ œ œ. ≈ œ œ.
438
œ. œ
206
œ. C: œ.7
iii
CHAPTER 16. ii56 . BASS
FIGURED IM43
440
?b ≈ œ ( œ. )& œ
451
wwww ≈ œ (œ. )
. œ.
œ. œ.
Snare Drum
C: V765
4
œ ≈ œ 16.2.4:
œ œ “7” œ œincluded
œ is≈not œ œwhen≈ 7th
œ œchords
œ are ≈œœ œ
442
ã 4 Figure œ inverted
Bass Drum
444
www ww ww
& w w
Notice that it is essential with seventh chords to include symbols like “M”
(for a major seventh chord) and ◦ and ø beforerelated
the figured
material bass numbers and
36
### 6 œ . œ œ œ œ . œ œ œ j
after the Roman numeral.
j
œ œ œœ œ œœ œœ
C: iii mot. 1 mot.ii16 frag. b frag. b I 46
œ œ œ œ œ
489
& 8 J J J
pwww frag. a frag. b wwwwfrag. a frag. b wwww wwwJ
447
& w w
j j j j j j
7œ œ œ œ œ œ œ œ œ œ œ œ œ œ viiø4
? #C:# # 6iii œ . œ œ œJ ii5œ . œ œ œ œJ œI 3 œ œ œ œ œ 2œ .
6 M4
451
8 Figure 16.2.5 J J J
& A: I I/3rd V/3rd V7/5th vi7 V/3rd I ii/3rd I/5th V
Half Cadence
phrase a
### œ . œ œ œ œ œ . œ œ œ œ j œœ œ œœ œj
J œ œ œ œJ œ
493
& J J œ
16.3 Thep Cadential
j j Six–Four
j j Chordj j
œœ œ œœ œœ œœ œ œ œ œœ œœ œ œ œ œ œœ
? ### . J œ. œ J œ œJ œ œJ œ œ.
A common term in music theory—the “cadential six–four” (or cadential J
6
4 )—is used to refer to the I 6
4 that regularly proceeds the V chord in cadences.
phrase a' I/5th V
(HC)
## j j
œ œ
& # œ. œ œ œ. œ œ œ œ œ œ œ œœ œœ œœ œ ‰
497
J J J œ œ œ œœ
j j j j j
œ œ œ œœ œœ œ œ œœ œœ œ œ œ
? ### œ . œ J œ. œ œ J œ œJ œ œ œ j ‰
J œ œ
A: ii6 I46 V7 I
(Cadential 64 )
YT: vp_h649sZ9A

16.4. OTHER OCCURRENCES OF SIX–FOUR CHORDS 207 17
B b/D F B b B b/D G m C ø7/G b B b/F Bb
œ œ (œ ) ˙
F F7
b œ œ œ . ( œJ ) œ
& b 43 œ œ œ. ˙
152
J
j
b
& b 43 œ œ œœ œœ ( œœ ) ˙˙ œœ œœ œœœ ... ( œœœ ) œœ
œœ .. ˙˙
152
œ œ œ ˙ œ œ J œ ˙
? b b 43 œ ( œ ) œ . j ˙ œ bœ œ. j
œ ( œ) œ . œ œ ( œœ ) ˙ œ bœ œ. œ œ ˙
œ œ( ) œ œ ˙
B¯: I64 V7 I
(Cadential 64 )
B¯: I/5th V7 I dom. ton.
bb
157 G¯ YT: LGvW6jHUHiY D¯
&bbb c Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b
& b b b b c ww
157 Now that it's rain - ing more than ev - er Know that we still have each oth -
w ww
w
? bb b c
Figure 16.3.2: Francis Scott Key and John Stafford Smith, “The Star–-
bb w
Spangled Banner”
w
D¯: IV I
159
It is worth remembering that the cadential 64 (or I64 ) has dominant function,
bb
A¯ B¯m
&bbb œ œ œ œ œ œ œ œ œœ œ œ
just like the V chord that usually follows it. Previously, we have called this
chord “ I/5th .”
œ œœ
œ œtheœrestœ ofœ this
We will use the term “cadential six–four” throughout text,
b
now that figured
er Youbass
can has
standbeen
un - derintroduced.
& b b b b ww
my um - br - el - la You can stand un - der my um - br - el -
w ww
w
? bb
16.4 Other Occurrences of Six–Four Chords
bbb w w
Second–inversion
V
chords with the fifth of the chord
vi
in the bass, also known as
6
4 chords, are special chords found only in four situations in Classical music.
1. Cadential six–four (discussed in the previous section)
2. Passing six–four: the bass line will look like a passing–tone figure, with
three stepwise ascending or descending notes, and the middle chord will
be a 64 chord
208
89
CHAPTER 16. FIGURED BASS
& œœœ œœ
œ
œœ
œ
& œœœ œœ
œ
œœ
?œ œœ
œ
?C: œI œ
V64 I6œ
(passing 64 )
V64 I6
œœ
C: I
3.
& œœœ
Pedal six–four: the bassline will
middle chord will be a 6
4 chord.
œ
consist of 6three
(passing 4) œœœ
repeated notes, and the
& œœœ œœ œœœ

? œ œ
œ œ
?C: œI œ
IV64 I
œ
(pedal 64)
C: I IV64 I
(pedal 64)
4. Melodic bass six–four: in this situation, the bass voice has the melody;
when the fifth of the chord occurs in this bass voice melody, the result
will be a 64 chord.
16.5 Additional Information
Though we will not use them in our harmonic analyses, you will sometimes
encounter figured bass symbols containing all of the intervals above the bass
note in Baroque music containing figured bass. The common figured bass
inversion symbols in the sections above are abbreviations of the figures given
in the examples below.
209
452
www ww ww
& w w
5 6 6
w
3 3 4
ww wwww wwww www

455
& ww
28 7 6 6 6
5 5 4 4 63
œ œ #œ œ œ œ œ œ œ #œ œ
28 3 3 3 2
3 œ . J œ
&4 Œ w
Cõ“Full” Figured
DõBass symbols Fõ interval above
Eo showing every Gõ the
533
w
Figure 16.5.1:
#Dwwõ bEwwo #Fwwõ #Gwwõ

863
& wõ w w
533 lowest note
# w 6 w3
&1.C:A¯: Vvii##/viwwwwo/ii 62. E: V 7/IV#vii# wwwo6/iii3. D¯:42 V /ii viib7wwwo/IV4. c:6 V /III6 vii# wwwo5./Vg:7V 6/V6 vii#œ6wwo/vi
C
œ œ œfigured . bass œ œ œ œ. œ œ œ
4 7 4 6 6
œ . œ œ œ œ œ . œ œ œ
? 43 C: viiC/iiõ7 7œ œ . œ œ . viiGwith
in œRoman œ . numeralviiDœw˜labeling) œo/iii7.
Additionally, you may notice that numbers in actualo music
wwø7 w
F˜ø/V
w
wwõ73 the
õ/vi
o o o
vii ø/IV vii o
3 Fw
7 7
bCwwwõ7 3 b
538
(but not mayE be altered chromatically
& symbols. w w w # www
# # wwww www # www
˜ ˜
# w
following o7 ø7
b w b # wwo7
538 D 3 E G
& # wwwo7 # w ww # ww
# w
& 44 C:b œœ vii#o7œœ/ii n ˙˙ viio7/iii # ˙˙ viiø7# ˙˙˙/IV ˙˙ ˙
867
b # ˙
o 7 ø7 ø7
b ˙/V
C: vii /ii vii /iii vii /IV vii /V vii /vi
œ œ Eo ˙ ˙ Fõ vii ø7
˙viioo7/vi
b w b w w
& bb b w # nFwww˜ w nAwwwo
Go A
wwE w
543
?& 44 b œb œ n wwwo ˙ n bw w
#˙n oww/V ˙ viioww/VI ˙ ˙n wo/VII
543 o o G o
6
c: vii /iv vii vii
6 7
b # øvii
7 /ivn 4+o/V Fõ7 viio/VI bbG5 ø7 # 5 o/VII
b w Dø7without ww b www www
c:D o
Eo7 vii vii
b ww
547 Aø7
& b bbaccidentals
www refer to the nb wwww slash through
7
# n wwwwit mean
4 with + andF6˜ with a
7 7 Aøa7
ww affect thatwwww
w
bnumber
n
& c: wwwwabove
547 E o o G ø
b ww
accidentals before
b viinow
w7/iv raise those nintervals
#basswwo7/V nw
numbers
3rd bass interval above the
viiø7/III viiø7/VI ø7bass
above the vii vii /VII
c: viiø716.5.2:
/III viio7/iv
Figured viio7/V
Bass with Chromatic viiø7/VI
viiø7/VII
Alterations
ww# #
Figure
#www# w ____
____ ____ ____ ____ ____ ____
ww
552
b b w ww www ww # ww ____ ww
Lead-sheet: _____ _____ _____ _____
&
b b w w
870
& & ww www ww w w ww

____ ____ ____ ____
w w
552
w w
w www w ww
w w ____ w ____
? C:w____ # # # w ____ # # # w ____
C: ____ ____ ____ ____
16.6b bPractice
b ____ w w b w____
ww w w____
558
w____ www
____ ____ ____ ____ ____
& wwww ww www www

____ ____ ____
Exercises
w w w w ww
558
w w
____ ____ ____
& 1. c:wwwthe _____ww

ww 2. b:lead-sheet w symbols
3. F: w w w
w w4. D: _____ www
Rom. Analyze
1. num.: _____ triads with wabove
_____ and
w Roman numerals
withC:figured
____ bass inversion
____ symbols____ below ____
the staff. ____ ____
# # C: ____ #
b b ww ____ b b b b ww____
Lead-sheet: _____ _____ _____ _____
ww ww
874 ____ ____ ____ ____ ____
____ ____ ________
& & ww ____ ww

564
ww w
w # w
w w
w w ww
w
____
& wC: ____ ww w

564
w w
ww w ww
? ## w # w w
bb w 2 bbbb w 4
____ ____ ____
C: ____ 1 ____ ____ 3 ____
1 2 3 4
Rom.Analyze
2. num.: 1. D:the seventh 2.chords
_____ g: _____with lead-sheet symbols above
3. e: _____ 4. f: and
_____Roman
ww
w____ www ww www
____ ____ ____
numerals with figured bass inversion symbols below the staff. ____
w____
568
&
#&# # # w wwwww ww # # _____ w ww
www # # # w wwww b b b b b www____
Lead-sheet: _____ ____
_____ ____
_____
ww
568
& b ww ____
wC: ____
878
ww ____
? ## ## w
w w #### w
b w
C: ____ ____ ____ ____
# bbbbb w
1 2 3 4
Rom. num.: 5. E: _____ 6. d: _____ 7. B: _____ 8. D¯: _____

?c œ œ ˙ ˙ ˙ ˙
˙
6 6 b7 #5
b # n 4+ b5
210 accidentals without CHAPTER
4 with + and 6 with a 16. FIGURED BASS
accidentals before a
numbers refer to the slash through it mean number affect that
3rd above bass raise those intervals
3. Label the given chords using lead-sheet
above the bass
symbols above and
interval Roman
above the bass nu-
merals with figured bass inversion symbols below.
## ##
bbb
Lead-sheet: _____ _____ _____ _____
ww w b ww ww
870
& w w w
#w w
? b w ## ## w
16
bb b w
? w
_____ _____ _____ _____
538
Rom. num.: 1. c: _____ 2. b: _____ 3. F: _____ 4. D: _____

Write the1.specified chords. Analyze the chords with lead–sheet symbols.
# key signatures. b #
2. D¯_____ f ˜: V 7
4.
b
Lead-sheet: b:_____ 3. _____ _____
b b b ww
viio7/5th : IVM7/7th 4. E: ii/3rd
& # b ww _____
874
ww_____
Include
w # ww w
542 _____ _____
? ?
? ## &b ww # ww & w
w b bbbb
1. E: IV6 ø4 2. c: ii 3 3. G: V56 4. d: viio6
546 Rom. num.: 1. D: _____
_____ 2. g: _____
_____ 3. e: _____
_____ 4. f: _____
_____
Analyze the excerpt using Roman numerals with figured bass inversion
? below and lead–sheet symbols?above. Analyze non–chord tones.
5.
& _____ # # _____ & _____

symbols
# # #____
& 1.#A: wwI6 ____ ____ # # # ww ____ b b b b b www ____
Lead-sheet: _____
b w
878
ww 2
Lead-sheet: ____
4
64 882 4 6 4. g: viio6
&4 œw œ
2. F: ii 3. b: V
œ(œww) _____
5
? # # # #œ_____
w œ ˙#œ # w _____ œ b w
b # # b bb w w
b
_____
? #
550
44 œ5. E: _____
?num.: œ œœ6. d: _____ œ 7. B: _____ œ (œ ) 8. D¯: _____ w
Rom.
5. œe: iv4 œ 6. B¯: viiø43 œ 7. f ˜:œVII6
w
6 8. E¯: IVM65
?
554
C: ____ ____ ____ ____ ____ ____

Figure 16.6.1: J.S. Bach, Chorale 175, “Jesus, meine Zuversicht”
884
&
Click here to download the first homework assignment for this chapter.
? ∑ ∑ ∑
Chapter 17
Secondary Dominant Chords
So far we have studied diatonic harmony (chords without accidentals, with the
exception of the use of raised 6̂ and 7̂ in minor, which are considered diatonic).
In the following chapters, we will study chromatic harmony.
17.1 Examples with Secondary Dominants
Vb 44 ŒÓ 44
16
œ
Secondary dominants are common in classical and popular music. Here are
?b 44 ∑ 44
16
examples with the chromatic chords noted. We will examine these chords
more closely later in the chapter.
V b 44 œ
17
œ œ œ ‰ j œ œ œ Œ
œ œ
I be - lieve in yes - ter - day.
17
œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ
? 4
b 4
Figure 17.1.1: Paul McCartney, “Yesterday” (1965)
211
Vb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
19
? 43 œ . œ œ œ œ. œ œ
œ œ. œ œ. œ œ. œ œ.
63
4+ 7 6 6
7 6 CHORDS
3 3 3
212 7 6 17.
6 CHAPTER 2 SECONDARY6 DOMINANT
b 4
&b 4 Œ ‰ j Ó
195
b
Don't know why I did - n't come.
& b 44 # œ n œ j
195
œ œ œ n œ œ œ œ b œœ œœ .. œœ ˙˙
? b b 44 Œ j
˙ ˙ œ. œ ˙
YT: tO4dxvguQDk
Figure 17.1.2: Jesse Harris, “Don’t Know Why” (2002)
21
### 4 j
& 4 œ œ‰ œ œ œ ˙ Œ ‰ œJ œ œ‰ œ œ œ ˙ Ó
198
J
##
& # 44 ˙ .
198 shine up my old brown shoes. I'll put on my brand new shirt
œ #œ ˙ . œ nœ ˙ œœœ w
? # # # 44 œœœœ
œ œ œ œ nœ œ œ œ œ œ œ œ
œ œ œ œ œœœœ nœ œ œ œ œ œ œ œ
##
& # ∑ ∑ ∑ ∑ ∑ ∑ ∑
202
YT: -qgpewMCVjs
###
Figure 17.1.3: Rick Nielson, “I Want You to Want Me” (1977)
∑ ∑ ∑ ∑ ∑ ∑ ∑
202
&
? ### ∑ ∑ ∑ ∑ ∑ ∑ ∑
? # # # 44
œ œ WITH
17.1. EXAMPLES
œ œ œ œ n œ œ œ œ œ œ œ œ213
œ œSECONDARY DOMINANTS
& 44 ˙ . œ #œ ˙.
202
œ nœ ˙. œœ ˙ œœ
& 44 œ œ œ œ ‰ j j j
œœœ Œ œœœ œœœ œœœ ‰ œœœ Œ œœœ œœœ œœœ ‰ œœ Œ œœ œœ œœ
202
œœ œœ œœ œœ #œ #œ œ œ nœ œ œ œ œ œ œœ
? 44
œœ œ œ œœ œ œ
œœ œ œ œœ œ œ œœ œ œ œ œ œ
œœ œ œ œ œ œ
& ∑____ ∑____ ∑____ ∑ ∑____ ∑ ____ ∑ ∑ ∑ ____ ∑

206
Lead-sheet:
44
64 882
& œœ 17.1.4: œœ( ) œWilliam
YT: vL7Op9ZQ3E0
206Figure œ Robert ˙œ Lamm,œ “Saturday wwin the Park” (1972)

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? 44 œ œœ œœ œ œ (œ ) w
œ œ œ
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ w ∑ ∑ ∑
C: ____ ____ ____ ____ ____ ____
b 4
884 Lead-sheet: ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
&bb 4 œ œœ œœ œœ
œ œœ œ ˙œ (œ ) œ œ œœ
j œ
? b 4 œœ œœ ( œ) œœ . œ
( ) œ œ œ œ
œ œ œ œ (œ ) œ
bb 4 œ œ œ œ œ
E¯: ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
1 2 3 4 5 6 7 8 9 10
& 44 ‰ ‰ œœj ‰ j ‰ j ‰ j
887
˙˙ .. œ ˙˙˙˙ ... .
# œœœ n œœœ ˙˙˙ ..
œ ˙. œœ ˙˙
> > . > œ ˙
>
?4 j œ ˙ ‰ œj œ ‰ j ‰ j
4 œœ ˙ œ œœ
˙ œ œ œ ˙ œ œœ
œ. œ. >œ . . œ ˙ œ. œ. >œ ˙ œ. œ. œ
˙
˙
> >
892
&
YT: awVi2QXC0ZE
? ∑ ∑ ∑
Figure 17.1.5: Bruno Mars, CeeLo Green, Philip Lawrence, and Ari Levine,
“Forget You” (2010) ∑ ∑ ∑
4 œ œ œ____ œ ____ œ œ œ œ
œœ œ œ
œ œ____ œ ____œœ œœ____ œ
C: ____ ____ ____ ____
Lead-sheet:œ ____
œ œ ____œ ____ œ œ œ____ ____ œ ____œ ____
884
bb 4 œ
214
b
& 4 œ œœ œœ œ
œ œ œ œ ˙œ (œ ) œ œ œœ
CHAPTER 17. SECONDARY DOMINANT CHORDS
œ
# # # # 3 œ . œ œ. œ. œ >œ œ . œ œ. œ. œ >œ
# J œ J œ . R j œ œ œ J œ J œ (Rœ )≈œ
≈
206
& 8œ œ
? b b 44 œ œ ( ) (œ ) œ œ œ œ œ
b œ œ qual œpiu - ma al œ rven -œto,
# # # # 3 œ . œ œ. œ. # œr œ ≈ œ . œ œ. œ. ‹ œ œœ ≈ œœ
206 La don - na è mo - bil
& E¯: ____ # 8 ____ ____ ____ œ œ œ

œ œ____ ____ ____ ____ ____œ ____ œ
R R
œ œ
œ œœ
œ
œ œ œ ‹œ œ œ
1 2 3 4 5 6 7 8 9 10
? 4# # # # 38 # œ œ œ
& 4 ‰# ‰ œœj ˙˙ .. ‰ j ‰ j ‰ j
887
œœ ˙˙ .
. œ ˙ .
. œœ ˙˙
œ ˙
> . # œœ ˙˙ .. n œœ ˙˙ . œ ˙
> > >
? 44 j œ ˙ ‰ j ‰ j ‰ jœ
œœ œ œ YT: œ ˙ œ œ œ ˙ œ œ ˙
œ. œ. >œ 17.1.6:
˙ Verdi,œ. œ. œRigoletto, œ. œ ˙
8uMb3CnP6L8
˙ œ. œ. >œ ˙ œ. (1851)
>
“La donna è mobile”
>
Figure
. > . .
b 4 œj ‰ œœ. ≈ œœ œœœ œœœ. œ. >
œœ œœœ œœ œœ œœ œœœ œœ ‰
892
&b 4 œ. œ J
π œ.
œœ. œœ n œœ b œœ. œœ. œœ. >œœ œ œ. œ. n >œœ œ
? bb 44 J ‰ œ ≈ bœ J ‰
YT: JRXIDEpquCg
Figure 17.1.7: Tchaikovsky, The Nutcracker, “Miniature Overture” (1892)
17.2 Tonicization
In this chapter and the next, we will study tonicization, which means treating
a chord other than the I chord like a tonic by approaching it with its dominant.
In diatonic harmony, the V chord (the dominant) resolves to the I chord (the
tonic). A secondary dominant is a major triad or dominant seventh chord that
resolves to (or tonicizes) a chord other than the I chord.
17.2. TONICIZATION 215
65
œœ
C A7/C˜ Dm B7/D˜ Em C7/E F D7/F˜ G E7/G˜ Am G7/B
4 œœ ˙˙ ..
G7/B
œœ œœ
C
# œœœ b œœ œœ œœ ˙.
896
& 4 œœ œœ œœ œœ œœ œ œ œ œ œ œ nœ
œ œ œ œ œ
œ #œ œ œ ˙.
? 44 œ œ #œ œ #œ œ œ œ #œ
C: V56 I V56/ii ii V56/iii iii V56/IV IV V56/V V V56/vi vi V56 I
Figure 17.2.1
901
&Sing the bass line of the example above and notice that a secondary chord,
25
452
? ∑ ww ∑ www ∑
through its chromaticism, intensifies the drive to the next chord.
& ∑ www∑ ∑ ∑
w
∑ ∑ ∑
Principle 17.2.2 Secondary Dominants. The Roman numeral after the
slash is the chord being tonicized by the V chord . before the slash.
4
You may find
5 that you want to analyze6 the D F in the example
7
6 above as
w
3 3 4
ww wwww wwww www

455
. 4
a II5 instead of a V5 V (which we pronounce as “ V5 of V ”), and the E7 G
6 6 6

&911
ww
&
as a III65 instead of V65 vi (“ V65 of vi ”). Notice, however, that a ii chord is

typically minor in a major key and diminished in a minor key ( ii◦ ), making
6 6 6
uppercase II75 a chromatic harmony
5 for which the4 proper label is V/V
4 .
? ∑ ∑ ∑ ∑ ∑ ∑ b Cww ∑
3 3 3 2
w # # wwww
D7 E7 A7 B7 7
# wwww # wwww # www ww

459
&
In918
C major
&
Label as V7/V V7/vi V7/iii V7/ii
V7/IV
œœ
II7 III77 7 7 I7
G /B C A /C˜ Dm B7/D˜ Em C7/E F D7/F˜ G E7/G˜ Am G7/B
Not as VII VI
4 œœ ˙˙ ..
7
&∑ 4 œœ ∑ œœ œœ ∑ œœ # œœ ∑ œœ b ∑œœœ œœœ ∑œœœ œœœ œœ

C
˙.
896
? ∑ nœ
Figure 17.2.3
œ œthe root
œ makes
&While labeling D7 as œII7 in œC major œ clear, it does not œ œ
464
œ œ ˙.
(the V chord, or ? 44 œ inœC major).
# œ œ # œ œ œ œ #œ œ #œ
communicate the function of the D , which is to progress to a G major chord
7
the dominant
Also, notice that the vii is not tonicized with its secondary dominant
925 ◦
&
472
&
in the example above. Listen to the following example to understand why
6◦
C: asVvii I V 6 6 V56/IV IV V56/V V V56/vi vi V56
diminished chords such 5 and ii◦5/ii ii Vare
in minor 5 /iiinotiii
tonicized. I
?
901 ∑ FŸ˜7 Bo ∑
& # # œœœ ... # œ œ N ˙˙˙
479
&
? #˙
486 ˙
& C: V7/viio viio
(not recommended)
902 Figure 17.2.4
&
493
&
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
w
3 3 4
ww wwww wwww wwwb w

455 5 5 4 4
3 3 2
& ww
3
w # # wwww ww
D7 E7 A7 B7 C7
# wwww 753
w # www 6 w
459
& # www
216 CHAPTER 17. SECONDARY DOMINANT CHORDS
6 6
5 4 4
3 3 2
17.3 Secondary Dominants in Major and Minor
b ww
25
w # # wwww
D7 E7 A7 B7 C7
w # wwww w
In C major
# wwww ww ww w
459
# www
452
&
Label as V7/V V7/vi V7/ii V7/iii V7/IV
ww
Both major 7triads and major–minor seventh chords can be secondary dominant
& w
7 7 7 I7
w
Not as II III VI VII
chords.
# www # # wwwV7I/IV
464 In C major D 25
E A B
#wwww
5 6 6
& # wwww ww wwww

Label as V7/V 3 V7/vi V73/ii V7/iii 4
wwww
452 455
ww
ww
II7 III7 VI7 VII7 7
& ww www
Not as
w w
w # w4 B7
C: V/V V/vi V/ii V/iii
4# w
464
# w
D 6E A B6
w w w w2# ww
6
& # ww ww
7 5
#7ww
6 6
Secondary Dominant Triads in Major
w # ww wwC7
C 7 5
Figure D
17.3.1: 7 5 E 7 4 A 7
w # w
3 3
b w w w
455 468
ww ww www # ww ww ww
3 3
& w
3
& C: wV/V w ww # ww V/vi

7
w ww
7
w # # ww
7
w wb ww
ww
D E A B
w # w
459
& #C:www VC77/IV #VDwww7/V w w

V/ii V/iii
w w
#2# www
# www 7
7 6 7 6 7
www
7 7 6 VE/vi 7 VA/ii 7 V 7
/iii
4 B
&C majorb wwwD7 7 www7 3

468 5 4
5
# #Aw
3
V7w/vi
3
as Vw /V V7w Vb 7w
473
V7w/ii wwI/IV
In
& # w
7 C7
w
E B
Not asC:w VII77/IV w # w # w V7w
459
V#7w w
Label /iii
& # www ww/V Vw
III 7 VI 7 VII 7 7
7/vi V7/ii /iii
# BwwwV7/IV
Figure 17.3.2: Secondary Dominant Seventh Chords in Major
www V7/iii
473
& #
464
#
D E A
as V7w V7/vi w
In C major
& #IIww7 III7 # w w
485
&Notice
Label /V V7/ii
Not as VI7 VII7 I7
the chromaticisms in the example above. The raised notes generally
act asC:the V/V
leading–tone to the root of the chord
V/vi being tonicized. In
V/ii the major
V/iii
# www # # www# ww
464
# wwww
mode, the 7only
D secondary7 dominant
E with a lowered
A chromaticism B is 7V IV .
7
# www

b www# www
485
# wwww
# ww
7 7
&
C D E A B
w
468
w
The
492 lowered note in V IV acts as 4̂ of the chord being tonicized in the same
7
&

& w # ww
way the last flat of a key signature is 4̂ .
Below are all secondary dominant chords (triads
C: V/V V/vi V/ii and major-minor
V/iii seventh
chords) in the minor mode.
w # # wwww
7
C: V 7/IV 7
V /V 7
V /vi 7
V /ii V7/iii
# wwwwn Dw # www
C D7 E7 A7 B7
& b b ww www
468 492
& b b ww # n www
n www w
473 C F
# ww
C: V7/IV V7/V
V7/vi V7/ii V7/iii
c: V/iv V/V V/VII
b n www w
&bb
(same
F as IV)
# n www
C D
n www
473
b w www
C7 17.3.3: D 7
Secondary E¯7
Dominant 7 Minor
TriadsFin B¯7
b ww
# n wwww n www
476 Figure
&bb n wwww
c: V/iv V/Vw w V/VII
(same as IV)
www
c: V7/iv V7/V V7/VI V7/VII 7/III
VB¯
b
n wwww
7 C 7
D 7E¯ 7
F 7
b www
# n wwww____
476
&bb ____w w
(same as VII7)
n www w ____ ____

?
481
c: V7/iv V7/V V7/VI V7/VII V7/III

(same as VII7)
1. E¯:
____V/ii V7/VI
2. g:____ 3. e: V24/iv
____ V6/ii
4. A:____
?
481 Figure 17.3.4: Secondary Dominant Seventh Chords in Minor
Remember that both vii◦ (on raised 7̂ ) and 4the subtonic VII 6(on the
7/VI
lowered 7̂1.)E¯: V/ii in the minor
occur 2. g: V
mode. 3. e: V2/iv
The subtonic VII can be4.tonicized
A: V /ii with
1617.4. ANALYZING SECONDARY DOMINANTS 217
?
_____
V7 VII , while vii◦ , being diminished, cannot.

_____ _____
538 Notice that an F major chord in C minor can be V/VII or IV , depending 65
on how it functions or progresses. If the F major chord progresses to a B2
œœ œœ theœœ ˙˙ ...
G7/B C A7/C˜ Dm B7/D˜ Em C7/E F D7/F˜ G E7/G˜ Am G7/B C
chord, label the F chord 4
b œœ œœ œœor Bœœ◦ , label
œœ anyœœ inversion)
896
as V/VII . If the F major chord has pre–dominant
&to4a Gœœ major œœ œœ #(in
œœ chord œ œ œ œ œ œ nœ ˙
œ œ œ œ
function and progresses
œ œ
œ ˙.
œ M7
F chord as IV .
The B 7 chord, on? the4 other hand, can beo7 œ # œ asœ V#7œ VII
4 or œ #
œ VIIœ7 #progress
œ œ œ œ ¯ 3. f ˜: V7
2
labeled correctly or

VII7 because both V7 VII

1. b: vii /5th
to III in minor. 2. D : IV /7th
16 C: V56 I V56/ii ii V56/iii iii V56/IV IV V56/V V V56/vi vi V56 I
542 _____ _____ _____
? ?
17.4538Analyzing Secondary Dominants
? Ÿ
_____ _____ _____ _____
F˜7 Bo
&
901
When you encounter a& # œwith œ ˙

.. a chromaticism
. o7 # œ N ˙˙
# œœprocess.
chord and suspect it is a secondary
dominant, use the following
2. D¯: IV 3. f ˜: V
?thirds
# ˙ _____
M7
1. b: vii /5th 7 /7th 4. E: ii/3rd
1.
542
Stack the chord in
˙ root and quality. _____
to determine the _____ If the chord _____
? C: Vquality ? 2.
quality is major (if a triad) or a major–minor seventh chord, go on to
& &
step 2. If the chord 7/vii1.
o E: IV
is not
6 or major–minor
major
viio
ø4
c: iithe
seventh, 3. G: V56
chord (not recommended)
is not a secondary dominant.
3
546 _____2. c:(stacked _____4. d: viio6 _____
# #1.# #E:_____
? ?
902
ww # www
IV6 iiø4 in 3rds) 3. G: V56
&
&
3
546 _____ _____ _____
? ?
? #### w & &
#w ∑
1. A: I6 2. F: ii42 3. b: V65 4. g: viio6
1. A: I6
?
E: ____
_____ _____ F: ii42
2._____ _____ 3. b: V65
? ## ?
550
The chord in question is an F4 major triad in first inversion.
# & &
& #that would_____
904
be a perfect 5th below the root_____ _____
? ?
2. Determine the note of the
550 chord you are analyzing.
&
If this note would be the root of a diatonic
# iv4
? ## # ∑
7. f ˜: VII6
∑
6
5. e: analyzing B¯: viiø43 dominant. 8. E¯: IVM65
chord, the chord you are is a6.secondary
##
& ## w
# ww
554
w
906
#### F˜ down P5 is B; in E major, B is 5̂
7. f ˜: VII6
556&4 5. e:iniv 6 6. B¯: viiø43
fore the chord is?V6 V .
####
Since B is 5̂ , the F major chord 4
first inversion is tonicizing V . There-
www
? #### ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& #
554
17.5 Writing Secondary Dominants

To write a secondary dominant, use the following procedure.
w
1. First determine the note that is the rootFof the
downchordP5˜ istonicized
being B; in (the
E major, B is 5̂
chord to the right of the slash).
&b
556
d: V43/VI
(6ˆ is B¯)
&b
557
& # ww
w
F˜ down P5 is B; in E major, B is 5̂
2. Determine the root of the V7 in the key of B2 (the Roman numeral after
&b
556F
the slash):
3. Build a major–minor seventh chord on F: F–A–C–E 2
d: V43/VI
4. Invert the chord accordingly. 4 (6ˆ is B¯)
inversion means the fifth of the chord is
3
in the bass.
&b
557
b wwww
d: V43/VI
&b
558
17.6 Irregular Resolutions of Secondary Chords

2
Vb 44 ŒÓ 44
16
œ
The roots of secondary dominants do not always resolve down a perfect fifth to
? 4 ∑ 4
16
the tonicized chord. In many of the examples of popular music with secondary
dominants at the beginning of this chapter, the secondary dominants resolve
deceptively.
b 4 4
4
17
Dm G B¯ F
Vb 4 œ œ œ œ ‰ j
œ œ
œ œ œ Œ
I be - lieve in yes - ter - day.
17
œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ
? b 44
F: vi7 V/V IV I
Figure 17.6.1: Paul McCartney, “Yesterday” (1965)
19
Vb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
In “Yesterday,” the V/V resolves not to V but to IV , which sometimes
acts as a substitute for the V chord (the dominant) in popular music.
This progression also happens in “Forget You,” where a V7 V resolves to

?b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
19
a IV chord.
bb 4 œ œ œ œ
œ
E¯: ____ ____
17.6. IRREGULAR ____ ____OF
RESOLUTIONS ____ ____ ____ ____
SECONDARY ____ ____219
CHORDS
1 2 3 4 5 6 7 8 9 10
& 44 ‰ ‰ œœj
7
‰ j ‰ j ‰ j
887 C D F C
˙˙ .. œ ˙˙˙˙ ... .
# œœœ n œœœ ˙˙˙ ..
œ ˙. œœ ˙˙
> > . > œ ˙
>
? 44 j œ ˙ ‰ œj œ ‰ j ‰ j
œœ œ œœ ˙ œ œœ
œ. œ. >œ ˙ œ œ œ ˙
˙ œ. œ. œ ˙
. . œ ˙ œ. œ. >œ ˙
> >
C: I V7/V IV I
. > . .
j . œ
b 4 œ ‰ œœ ≈ œœ YT:œ awVi2QXC0ZE .
œœœ œ. œœ œ œ œ >œœ œ ‰
œ
892
b
& 4 œ. œ œ œ œ œ œ œ œ œJ
“Forget You”π(2010) œ.
œœ n œœ b œœ. œœ. œœ. >œ œ œ. œ. n >œœ œ
Bruno Mars, CeeLo Green, Philip Lawrence, and Ari Levine,
œœ.
Figure 17.6.2:
? b b 44 J ‰ œ ≈ bœ œ J ‰
In “I Want You to Want Me” by Cheap Trick, the V/V chord resolves to a
21
subtonic 2 VII chord in A major.
## j
F˜m7
& # 44 œ œ ‰ œ œ œ ˙ Œ ‰ œJ œ œ‰ œJ œ œ ˙
B G A
Ó
198
### 4
198 shine up my old brown shoes. I'll put on my brand new shirt
& 4 ˙. œ #œ ˙ . œ nœ ˙ œœœ w
? # # # 44 œœœœ
œ œ œ œ nœ œ œ œ œ œ œ œ
A: vi7 V/V ¯VII I
& 44 ˙ . œ #œ ˙.
202
œ nœ ˙. œœ ˙ œœ
YT: -qgpewMCVjs
4Figure 17.6.3: Rick Nielson, “I Want You to Want Me” (1977)

& 4 œœ œœ œœ œœ ‰ œœj Œ œœ œœ œœ ‰ œœj Œ œœ œœ œœ ‰ œœj Œ œœ œœ œœ
202
œ œ œ œ # œœ # œœ œœ œœ n œœ œœ œœ œœ œ œ œœ
?Remember,
44
œ œ œ (see œthe Harmonic Flowchart forœPopular
however, that the subtonic 2 VII in major can act as a substitute
œ œ œ œ œ œ Music
œ withœ Subtonic
œ4 œ œœ œœ
for the dominant
œœ œ œ
VII chord in Major).
œ œ œ 7œ
. 2 œ œ œ
In “Baby Love” by the Supremes, a C B in C major ( V2 IV ) resolves to
an A7 chord ( V7 ii ), .
which then resolves to ii ( Dm ). In this example, notice

# # # # 3 œ . œ œ. œ. œ ≈ >œ œ . œ œ. œ. œ >œ
R≈
2
that the B2 in the C B is a lowered chromatic note that wants to resolve
7
& # 8
206
J J R J J
downward by half step to A. Instead of this A being the third of the IV chord
(an F major chord), which is the traditional and expected resolution, it is the
root of an A7 chord ( V7
ii ).
# # # # 3 œ . œ œ. œ. œ œ. œ. œ œ
206
œ≈œ
La don - na è mo - bil qual piu - ma al ven - to,
œ.
r r
& # 8
#œ
œœ œœ
‹œ
œœ ≈ œœ
R R
? # # # # 38 # œ œœœ œœœ œ œœ œœ ‹ œ œœœ œœœ œ œ œ
œ œ
#
22
C C7/B¯ A7 Dm7
j j j
& 44 œ œ œ ˙ œ œ œœ ˙ œ œ œ œ bœ œœ œ œ œœ œ ˙ Œ
210 3 3
J
Ba - by love, my ba - by love, I need you oh how I need you
œœ œœ œœ œœ œœ œœ œœ œœ # œœœ œœœ œœœ œœœ n œœ œœ œœ œœ

4 œ œœœ œ œœœ œ œ œ œ œ œœœ
&4 ‰
210
? 44 ‰ œ œœœ bœ œ œ œ œ œœœ
œ œ œ œ
œ œœœ bœ œ œ œ œ œ œ œ œ œœœ
C: I V42/IV V7/ii ii7
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
215
YT: 9_y6nFjoVp4
17.6.4: Lamont Dozier, Brian Holland, and Eddie Holland, “Baby

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure
215
Love” (1964)
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑
227
&
∑ ∑ ∑ ∑ ∑ ∑ ∑
227
&
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
Finally, a rather common deceptive resolution of a secondary dominant is

V7 vi to IV , which can be seen in the following three examples.
# 4 ˙ œ œ
J ˙. œœ w ˙ ˙
D: _____ _____ _____ _____ _____
17.6. IRREGULAR RESOLUTIONS OF SECONDARY CHORDS 221
# 4 j
œ œ œ œ œ ‰ ‰ œj œ œ
G B
V 4 œ œ. œ œ œ œ
228
I've had no - thing to live for And look like
#
& 44 ˙˙ œ # œ n œœ # # œœ ˙
228
˙ Ó
œ œœ # œ œ ˙
˙ œ
? # 44
œ œ œ
œ œ œ #œ œ œ œ œ 65
œœ n œœœ ˙˙˙ ...

G:/BI C A /C˜ Dm B /D˜ Em C /EV/vi
F D7/F˜ G E7/G˜ Am G7/B
4 œœ
7 7 7 7
œœ œœ œœ
G C
# œœ b œœ
896
&4 œœ œœ œœ œœ œœ œ œA œ œ œ œ
# Cœ œ œ œ œ œ
œ œ œ œ œ œœ œ œœ œ ˙ œ. œ
230
V4
? œœ bœœ œœ # œ Œ œ # ‰œ
4 œ œ #œ œ #œ
230 C: no
V56- thin'sI Vgon
6 - na come
6 my 6 way 6 6 So 6 I'm Ijust gon'
5/ii ii V5 /iii iii V5/IV IV V5 /V V V5 /vi vi V5
# F˙˜7 œ #œ nœ #œ œ
& Ÿ˙˙ œœ œ n œ œ Œ Ó
œ
Bo
œ bœ œ œ
901
& # # œœœ ... # œ œ N ˙˙˙

?
? # ˙œ œ
˙ œ œ bœ œ œ œ œ œ œ
C: VIV
7/viio viio V/V
(not recommended)
##
902
& # # ww # www
(stacked in 3rds)
YT: rTVjnBo96Ug
Figure 17.6.5: Steve Cropper and Otis Redding, “(Sittin’ On) The Dock of
? #### w
the Bay” (1967)
#w
?
E: ____
œ œ œ œ œ œ
? œœ œ œœ œ œ œ œ œ œœ œ œœœ œ # œœ œ œœ œ œœ œ œœ œ œ œ œ œ œœ œ œœœ œ # œœ œ œœ œ
F G C E E7 F G C E E7
904
?˙ ˙˙ ˙˙ ˙˙
˙ ˙˙ ˙˙ ˙˙ ˙˙
C: IV V I V/vi V7/vi IV V I V/vi V7/vi
E B7 C˜m G˜7 A
# ˙˙ # # œœœ œ
& 44 ˙ # # œœ # # # ˙˙˙ #˙
YT: rAn-AWXtHv0
˙
908
Figure 17.6.6: John Lennon, “Imagine” (1971)
& 44 # ˙˙
# # œœœ # œœ # # # ˙˙˙ # ˙˙
E: I V vi V7/vi IV
˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙
C: IV V I V/vi V7/vi IV V I V/vi V7/vi
E B7 C˜m G˜7 A
4 # ˙˙ # # œœœ œ
&4 ˙ # # œœ # # # ˙˙˙ #˙
˙
908
& 44 # ˙˙
# # œœœ # œœ # # # ˙˙˙ # ˙˙
E: I V vi V7/vi IV
YT: lbblMw6k1cU
Figure 17.6.7: Beethoven, Piano Sonata Op. 53, I (1804)
progression of 4iii to IV (Em to F in C major) is not unusual, so E to F, which

66 There are twoCways to conceptualize
Am7 this progression.
Dm7 The Gfirst is that the
appears to &be 4III ˙˙to IV but is in˙˙ fact V/vi to IV ˙˙ modification

˙˙ , is a chromatic
910
˙ ˙ ˙ ˙
? 4 ˙ within the submediant area.
of iii to IV . The other way to think of V/vi to IV is as V/vi to VI/vi , a
deceptive progression
4 ˙˙ ˙
We can conclude that secondary chords do not always resolve strictly to
C: I vi7 ii7 V
the chords they appear to be tonicizing.
FUNCTION: ton. ton. prol. pre-dom. dom.
& 44 ˙˙ Exercises
C A7 D7 G
˙˙
n # ˙˙˙
912
˙
17.7 Practice # ˙˙˙ ˙
? 44 ˙ ˙
˙ ˙
Day One:
C: I V7/ii V7/V V
1. Analyze the followington.
FUNCTION: ton. secondary
prol. dominants.
pre-dom.Include dom.
lead-sheet sym-
bols above.
## b b b b www # #### # w b b b b b ww
Lead-sheet: ____ ____ ____ ____ ____ ____
b # ww
914
& ww ww ww
w w w
? ## # w w # # ww #### w w
b w bbb bbbb
b: _____ F: _____ c: _____ G: _____ E: _____ f: _____
1 2 3 4 5 6
b
& b bb
920
? bb b ∑ ∑ ∑ ∑ ∑ ∑ ∑
b
(same as IV)
b www
n wwww
C7 D7 E¯7 F7 B¯7
b www
# n www
476
& b b EXERCISES
17.7. PRACTICE ww n ww w w w 223
2. Write the
c: following
V7/IV secondary
V7/V dominants.
V7/VI IncludeV7lead-sheet
/VII Vsymbols
7/III
above. Include key signatures. (same as VII7)
____ ____ ____ ____
?
481
1. E¯: V/ii 2. g: V7/VI 3. e: V24/iv 4. A: V6/ii
3. On the empty staff below, copy the notes from the upper staff to
the lower staff while adding the specified non–chord tones. (Note:
LNT = lower neighbor tone; UNT = upper neighbor tone.) Realize
the lead–sheet symbols using quarter–note accompanimental texture.
Below the lower staff, analyze the chords using Roman numerals with
figured bass inversion symbols. 67
chro.
b 4 j ˙ ˙
& b b 4 œ œ œ. œ œ œ ˙
920 LNT PT UNT PT PT DN APP
PT
w
? b b 44
b
D7/F˜
b
924 Cm Fm G
& b b 44
? b b 44
b
Rom. num.: _____ _____ _____ _____
b
&bb
928
Day Two:
4. Approach each chord with its secondary dominant seventh chord
? b b Label chords with Roman numerals below and lead–sheet
(whose root lies a perfect 5th above the root of the chord of reso-
26
lution).b
26 symbols above. ____
˙˙˙ ˙˙˙˙
____ ____ ____ ____ ____ ____
? 4 ˙˙˙˙ wwww
485 ____ ____ ____ ____ ____ ____ ____
?
933 4 ˙
4 b˙ ˙˙ w
485
˙˙ w
&C: b ____
b V7/____ ____ V7/____ ____ V7/____ ____
C: ____ V7/____ ____ V7/____ ____ V7/____ ____
? b____
b ____
b
˙˙˙ ˙˙˙˙
____ ____ ____ ____ ____ ____
? 4 ˙˙˙˙ wwww
489 ____ ____ ____ ____ ____ ____
? 44 ˙˙ ˙˙ ˙˙ ww
489
C: b____
&C: b ____
b
939
V7/____ ____ V7/____ ____ V7/____ ____
V7/____ ____ V7/____ ____ V7/____ ____
?? b b b
493
?
493
?
501
?
501
?
508
?
508
b
&bb c
224
? b c
bb
CHAPTER 17. SECONDARY DOMINANT CHORDS
5. For the following example, alter the given motives as specified. Add an
Rom. num.: _____ _____ _____ _____
accompanimental texture of afterbeats. Analyze the Roman numerals
with figured bass inversion symbols below the staff.
œ .œ œ .œ œ œ œ
‰œ
F Dm G7/B C
œ
& b c ‰J œœ ‰œ
928
? c ‰ œœœ œœœ œœœ ‰ œœœ œœœ œœœ

mot.1 mot. 2 mot. 2 aug. mot. 1 mot. 2 1 inv. 2. inv
b J J
F: _____ _____ _____ _____
# # #first
Click here to download# the
wsecond b # # for this bchapter.
b bthisww chap-
_____ _____ _____ _____ _____
b # b
homework assignment
& b ww w w
932
#w
Click here to download the homework assignment for
w
# # # # ww
ter.
?b w w # # # www w
w bb n w bbb b w
1. F: _____ 2. E: _____ 3. g: _____ 4. b: _____ 5. c: _____
bbbb # nw ### bbbb

937 _____ _____ _____ _____ _____
& n www w ww b n www b w

nw
w
? bb b w # w # # # # ww #w
b bbbbb w b w
6. A¯:_____ 7. G: _____ 8. f˜:_____ 9. D¯:_____ 10. D:_____
F: V6/IV E: V/ii g: V4/V b: V/iv c: V4/VI

A¯: V6/vi G: V6/IV f˜: V4/iv D¯: V/ii d: V7/V
Chapter 18
Secondary Diminished Chords
18.1 Secondary Diminished Chords

69
. œ(œ) œ œ(see j œHarmonic

Lead-sheet: _____ _____ _____ _____ _____ _____ _____ _____
b 44chord œ œfunction
958
& œ . œ œ œ (œ) . œthe n œ Function Flowchart).

˙
œ( ) dominant
The vii◦
has dominant
Since chords of ( ) function typically resolve to chords of tonic func-
tion, diminished triads as well as half–diminished and fully–diminished seventh
? b 44 œ œ œ œ
mot. 1 mot. 2 mot. 3 mot. 4 3 inv. mot. 4 1 inv.
chords occur as secondary diminished chords.
d: i III46 VI III iv V6/V Vsus4 V

Cõ7 Dõ7 F˜ø7 Gõ7
œœ œœœ œœ œœœ
G
˙˙ ..
Bø7 Eø7 Bø7
4
C Dm Em F Am C
b œœ œœ œœ
œœ b œœœ œœœ # œœœ ˙.
962
& 4 œœ œœ œ œ œ œ œ
œ œ œ
œ #œ œ œ ˙.
? 44 œ œ #œ œ #œ œ œ œ #œ
C: viiø7 I viio7/ii ii viio7/iii iii viiø7/IV IV viiø7/V V viio7/vi vi viiø7 I
Figure 18.1.1: A Harmonic Sequence with Secondary Diminished Chords in
C967
major
&
?
Below are some examples of pieces with secondary diminished chords. No-
tice
968 that chromaticism is an “essential” part of secondary diminished chords
&
(“non–essential” chromaticism refers to chromatic non–chord tones).
?
225
? 44 œ œ # œ 6 œ # œ œ œ œ # œ œ # œ6
d: i III4 VI III iv V /V Vsus4 V
Co7õ7 Do7õ7 F˜ø7 õ7/viAm
œ ˙.
ø7
IC vii /ii Dm
ii vii /iii iii Eø7 ø7 G vi vii
Bø7
& 44 œœ œ œœ œœ # œœ œœ b œœœ œœ œœœ œœœ œœœ œœœ œœ ˙˙ ..

962 C: Bø7
vii Em viiø7 F vii
/IV IV /V Go7
V vii ø7 CI
226 CHAPTER 18. SECONDARY DIMINISHED CHORDS
œ œœ b œ3 œ 3 œ œ3 3 œ .
? #4 4 3 œ # œ œ œ œ# œ œ œœ œ œœ œ œ # œ3 œ #œœœ œ 3œ ˙3
967 3
& 4 4œ œœ .œ œœ œœ . œ œ . œ œ . œ œ . œœ œœ .œ œœ œœ. œ œœ .(œ) œœ œ œ œ œ

C: viiø7 I viio7/ii ii viio7/iii iii viiø7/IV IV viiø7/V V viio7/vi vi viiø7 œ .I
œ œ
œ œ œ œ œ 3 œ œ œ
?# 44 œ 3 œœ 3 œ 3 œ œ
œ3 œ #œ 3 œ 3
œœœ .œ œœ œœ .œ œœ œ œ œœ
3
#
3
44 œ œ œœ œœ .œ œœ œœ .œ œœ œ œ
967
& œ. œœ. œœ œœ .(œ) œœ œ œ œ

œ. œœ œ œ
.
œ œ œ 9ayLUAWmatk
œ œ œ œ œ œ
? # 4 œ œœ œ œ œ
YT:
œ Herzœ und Mund und Tatœ und Leben

#œ BWV 147, œX.
971
Figure 4
& 18.1.2: J.S. Bach,
“Jesus bleibet Freude” (“Jesu, Joy of Man’s Desiring”) (1723)
?#
# 2 œ. Cœ œ œ. œ. œœ. Cœœ.7/B¯œ œœ œ œA#7œ œ. œ.
22
œ
& 4j œ œ œ œ œ œœ œ
971
œœ j# œ.
Dm7
j n œ. œ
& 44 œ f œ pœ ˙ œ œ œ œ S˙ œ œ f p œ œ b œJ œ œ œ œ œ. ˙ Œ
3
œœ
210 3
œœ-. byœœ. love,

œœ I needœ you oh how I . œœ.needœœ.you œ
? # 42Ba œœ- by‰ love,Œ my ba J ‰ œ ‰ Œ œœ œ
œ œœ œœ œœ œœ œœ œœ œœ œœ œ # œœœ œœœœ œœœœ œœœœ n œœœ œœœ œœœœœœœ
210
4
&4 ‰
Jœ œ œ œ œ œœœ J œ
?4 ‰ œ œœ œ œœœ
4 œ b œ YT:œ 67maTrrSKjg
œœ œ œ œ œ
œ œœœ bœ œ œ œ œ œ œ œ œ œœœ
Figure 18.1.3: Tchaikovsky, The Nutcracker, “Trepak” (1892)
C: I V42/IV V7/ii ii7
#
V # 44 Ó œ œ. œ œ. ˙ Œ‰ œj œ œ œ œ œ. œ Œ
215
J J J
#
& # 44 œœ .. œœj œœ œœ œœ ..
Don't go chang - ing
j j
to
j
try and please me
j
œœœ .. n œœœ ‰ œœœ ..
215
œœœ œœœ œœœ .. œœœ .. œœœ œœœ œœœ

œ . œ œ œ # œœ .. œ œ œ .. . . œ œ ..
? # # 44 ˙ œ œ. ˙. œœ w ˙ ˙
J
#
V # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
219
YT: HaA3YZ6QdJU
Figure 18.1.4: Billy Joel, “Just the Way You Are” (1977)
#
& # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
219
? ## ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& b ˙˙ ˙
˙
˙˙ ww
˙
g: ____ V7/____ ____ V7/____ ____ V7/____ ____
18.2. SECONDARY DIMINISHED CHORDS IN MAJOR AND MINOR 227
### 4 œ ˙ œ ˙ œœ œœ œ œœ˙
nœ œ œ
511
V 4 œœ œœ
œ œ œ
œ #œ
YT: Cw16cySo65Y
Figure 18.1.5: Dewayne Blackwell and Earl Bud Lee, “Friends in Low Places”
(1990)
18.2 Secondary Diminished Chords in Major and Minor

28
Below are the secondary diminished chords that occur in major and minor.
# www
Cõ Dõ Fõ Gõ
533
b www w
Eo
& w # ww
# www # # ww
28
#Gwwwõ7
C: viiCo˜/iio viiDo˜/iii Fo˜/V Go˜/vi
533
w
o
viiEoo/IV
bEwwwø7
o o
w # ww
vii vii
& # wwwCõ7 # D# wwõ7
w b wwwo/IV
F˜ø7
w ww
&C: vii#bowwww/ii # wwwo/V #viiwwo/vi
538
#vii# wwwo/iii viiw vii
viiGw
w w w
Co˜7o/ii Do˜7o/iii o˜7/vi ˜ø7/V
w w
7 7 7
ø7ø/IV o7
bw b wwwTriads and Seventh

# ww Chords#inoww Major
538
viiE Fø7
# # www Diminished
C: vii vii vii
& 18.2.1:# www EoSecondary
b b o7 w wwwo7
Figure
b n w
F˜
w b w
w n
o G o A
& w w
543
C: vii /ii
nw vii o7/iii
# w viiø7/IV vii ø7/V vii /vi
b
# n www
b www n wwwAø7
c: viiEo/iv viiFo˜/V o/VI viiAo/VII
&bb w
o o viiG o o
n ww
543
b
Dø7
b www
Eo7
w
Fõ7
b wwww
G ø7
www
www # n www
547
&bb w
c: viio/iv nw viio/V viio/VI on
vii /VII w
b w b wwww w
n www
viiFo˜7o/V
b www
7 7 7 ø7 7
www # n www
547 Dø/III
c: viiø7 o7o/iv
viiE viiø7G/VI Aø/VII
viiø7
&bb w nw
b
& b c:b
552
viiø7/III viio7/iv viio7/V viiø7/VI viiø7/VII
bbb
Figure
552 18.2.2: Secondary Diminished Triads and Seventh Chords in Minor
&
Notice that vii◦ /III in minor is not included because it is ii◦ . Notice
also that viiø 7 III has no accidentals—it is the same as iiø 7 but functions
228 CHAPTER 18. SECONDARY DIMINISHED CHORDS
differently. The iiø 7 chord has pre–dominant function and progresses to V

whereas the vii III chord progresses to III .
ø7
Minor triads are tonicized by fully diminished seventh chords. Major triads
are traditionally tonicized by half diminished seventh chords but can also be
tonicized by fully diminished seventh chords.
18.3 Analyzing Secondary Diminished Chords

When you encounter a chord with a chromaticism and suspect it is a secondary
diminished seventh chord, use the following process.
1. Stack the chord in thirds to determine the root and quality. If the chord
quality is a diminished triad or a half–diminished and fully–diminished
seventh chord, go on to step 2. If the chord quality is not a diminished
triad or a half–diminished and fully–diminished seventh chord, the chord
is not a secondary diminished chord.
#
975
& # 44
70
ww w
# www
M3
m3
? # # 44 #w
m3
w
?
D: _____
The chord in question is an G4 half–diminished seventh chord in first
#
inversion. 977
&
2. Determine the note that would be a minor 2nd above the root of the
chord you are analyzing. If this note of resolution would be the root of
?#
a diatonic chord, the chord you are analyzing is a secondary diminished
##
chord.
515
& www
#w w
999
#
&
##
G˜ up m2 is A; in D major, A is 5̂
#
&? ##
515 4 ø7 .517
& www
This G B is analyzed as viiø 65 V in D major.

18.4 Writing Secondary Diminished Chords

#w w
#
&& ##
To write a secondary
531 diminished chord, use the following procedure.
˜
1. First determine the note that is the root of the chord being tonicized (the
G up m2 is A; in D major, A is 5̂
b
chord to the right of the slash).
b
517
&
?#
g: viio42/iv
4ˆ is C
b b
518
&
515 EXERCISES
## 229
&
18.5. PRACTICE
www
#w w
2. Determine vii◦ 7 in the key of C minor (C is the root of the iv chord,
which is the Roman numeral after the slash): B is the root of vii◦ 7 in
C minor because it is a m2 below C.
G˜ up m2 is A; in D major, A is 5̂
b b
517
& seventh chord on B: B–D–F–A2

3. Build a fully–diminished
g: viio42/iv
4ˆ is C
4. Invert the chord accordingly. 4
inversion means the 7th of the chord (A2)
w
2
b b n www
is the 518
bass note.
& b
g: viio42/iv
b b
519
&
## c
975
70
& ww Exerciseswww
18.5 Practice
#w
M3
m3
? # # c # ww
m3 27
515
# # the following
&
1. Analyze
www andD:Roman
? secondary diminished chords with lead–sheet sym-
_____
bols above
# w w numerals with figured bass symbols below.
# # ww Gb˜b up m2 # # ‹ w
# ww is A;b binb Dbmajor,
ww Ab bisb b5̂b n ww # # # ww b b b b n w
Lead-sheet: ____ ____ ____ ____ ____ ____
977
& w n w w
b b
517
& n w
? # # # w b b n w b b ww b b b w # # # # w b b b b ww
g: viio42/iv
b bb b
4ˆ is C
D: _____ g: _____ E¯: _____ D¯: _____ c ˜: _____ A¯: _____
b w
& b n wwwAõ7o7
518
1 2 3 4 5 6
Cõ/E Gø7/F Eo7/B¯ F‹o7/E Ao7/C

vii /vi viio6/V viiø4/IV viio4/iii viio4/V viio6/ii
2. Write theg:following
viio42/iv secondary diminished
2 chords.
3 Include lead–sheet
2 sym-
5
bols above. Include key signatures.
# # # #____w
bb w b b b b n ww
_____ _____ _____ _____ _____
?& b b ww
____ ____ ____
# ww nw
983 519
#w
w
w viio7/vi# n ww 2. c: viib bo65/Vn ww
? b 1.#A¯: w
3. #e:# #viiø43w b w o4
b b4.b bB: vii 2/ii
w /III
? b1.b d: _____ 2. e: _____ 3. B¯: _____

523
4. f ˜: _____ 5. A¯: _____
b #### w #### b b b b b b b n www b b n ww

988 _____ _____ _____ _____ _____
& b b b ww #w # n ww
nw
#
& # 44 œœ .. œœj œœ œœ œœ .. œœj œœj œœ .. œœ .. œœj œœ œœ
Don't go chang - ing to try and please me
j
œœ ..n œœœ ‰ œœœ ..
215
230 œ œ # œœ18.
œ . œCHAPTER .. œœ SECONDARY
œœ œœ .. œ . œ DIMINISHED
œ œ œ . œCHORDS œ ..
3. ? # # the
Analyze 44 ˙following . ˙inversion
œ excerpt
œbass . œ œ w below. Analyze ˙
˙ non–chord
with lead–sheet symbols above and Roman
numerals J
with figured
tones in parentheses.
symbols
j
____ ____ ____ ____ ____ ____
& b 68 œ . œ (œ) œ œ œ œ (œ) œ œ . œj ‰ ‰ ∑

219
œœœ
j œœ. ‰ œœ. œœ .. jj
6 œœ .. œœ ‰ ‰ œœ ..
We'll keep on fight - ing till the end
? b œœ œœ œœ œœ
œ. ‰ œ œ
219
b 8 œ. œ œ. œ œ #œ > > œ
. J J >> >
? 6 ‰
b 8
˙. ˙. œ. œ œ #˙. #œ ) œ
>> > (
F: ____ ____ ____ ____ ____ ____
1 2 3 4 5 6
YT: 04854XqcfCY
Figure 18.5.1: Freddie Mercury, “We Are the Champions” (1977)
Click here to download the second homework assignment for this chap-
ter.
Chapter 19
Mode Mixture
19.1 Mode Mixture
Mode mixture typically consists of borrowing chords from the parallel minor
during a passage in a major key. “Borrowed chords” refers to borrowing
chords from minor and is synonymous with mode mixture. In the examples
that follow, notice the lowered chromaticisms—26̂ is most common but 23̂ and
27̂ also occur in borrowed chords.
24
##
E D˜ø7 D Dm A/C˜ B7 E7sus4 A
232 V # 46 œ œ ˙ Ó 44 œ œ œ œ œ œ œ œ œ œ œœ ˙
### 6
& 4 œ œ ˙ n ˙ 44 ˙
All your life you were on - ly wait-ing for your mo - ment to ar - rive.
# ˙˙ n ˙˙ ˙˙
(œ ) œ ˙ ˙ ˙
? # # # 46 œ # œ n ˙ ˙ 44 ˙ ˙
ped. pt.
˙ ˙
A: V viiø7/V IV iv I6 V7/V V7sus4 I
235
### ∑ ∑ ∑ ∑ ∑ ∑
V YT: 4J5FPNitDc8
###
Figure 19.1.1: Lennon–McCartney, “Blackbird” (1968)
∑ ∑ ∑ ∑ ∑ ∑
235
&
# # # example
?A famous
Notice the emotional effect of switching to the minor mode.
∑ that∑ progresses∑from the major
∑ I chord
∑ immediately
∑ to
the minor i chord is Richard Strauss’s Also Sprach Zarathustra.
##
231
V # ∑ ∑ ∑ ∑ ∑ ∑
241
241
œ ˙
? b 43 œ œ œ œ œ œ # œœ œœ œœ œ œ œ œ ˙
( )
232 d: 7
CHAPTER 19. VMODE o7 I
viiMIXTURE
Picardy third
œ .. œœœ b www œœ ≈ ‰ Œ Ó
C Cm
&c ˙ ˙ ˙ œ
R R
p f p f 3 3 3 3
?c w w w œ œ œœœœœœœœœœ
w œœ w w U̇
3 œ
& bC:4 œœ œœ
œ œœ œ œœ œ # œœ bIœ œi œ œ œ œ
œ œ #œ œ
72
œ œ œ œ œœ# œ # œœ # œ n œœ œœ œ# ˙˙
& U̇
œ œ œ œ
? b 43 œ œ œ œ œ œ # œ œ œœ œ œ (œ) ˙
YT: IFPwm0e_K98
Figure 19.1.2: Richard Strauss, Also Sprach Zarathustra, Op.30 (1896)
? d: V 7 viio7 I
Picardy third
œ .. œœœ b www œœ ≈ ‰ Œ Ó
C Cm
&c ˙ ˙ œ
˙ R R
&Later pduring the opening of Also
f Sprach p Zarathustra,
f 3 another
? coccurs. w
3 borrowed
w w œ œ œœœœœœœœœœ
3 3
chord
? w w w
C: I i
F Dø7/F C/G
b œœœœ œœ œœœ ˙˙˙ œœ œ œœ

& c œœœ œœœ œœœ ˙˙˙ œ œ ˙œ œ œ œ œ
Œ
f
?c œ œ œ
w w
w w
C: IV iiø65 I64
& YT: IFPwm0e_K98

Figure 19.1.3: Richard Strauss, Also Sprach Zarathustra, Op.30 (1896)
The next three examples have the pattern 1̂ –27̂ –6̂ –26̂ in the bass line.
# 4 4 ˙ ˙ ˙
A: V viiø7/V IV iv I6 V7/V V7sus4 I
19.1. MODE MIXTURE 233
b
& b b 44 Œ œ œ œ ‰ . œr œ œ
E¯ E¯7/D¯
‰œ œ
235
œ. œ œ
3
œ œ
b
& b b 44 Œ œœ
Ev - 'ry day is so won - der - ful Then sud - den - ly
œ œ œœ œ œ œœ
235
œ œ >œ œ œ œ > œ
? b b 44 w bw
b
E¯: I V24/IV
bb ‰. r Ó
237
Fø7/C¯
& b
Cm
˙ œ œ œ bœ ˙
b
237 It's hard to breathe
&bb œ œœ
œ œ œœ œ œœ œ b œœ œ œ œ œ œ œœ œ
> œ >
? b w bw
bb
vi iiø43
YT: f1zLSpzCh9E
Figure 19.1.4: Linda Perry, “Beautiful” (2002)
234 CHAPTER 19. MODE MIXTURE 25
#
& # 44 œ œ œ œ n œ œ œ j
D D7/C G/B B¯
j
239
œ nœ œ œ œ œ œ
# 4 j
nev - er un - der - stood a sin - gle word he
j
239 said But I
& # 4 ‰ j œ ‰ j œ b œ
œœ œœ n œœ œœ œœ
œ œ œ n œœ œ œ œ œ
? # # 44 ˙ j
n˙ œ. bœ ˙
D: I V24/IV IV ¯VI
## j
241
j
D/A D
& nœ œ œ œ œ œ œ
#
helped him a - drink his wine
& # œ
241
œœ œ œ œ œœ # œ œœ œœ
? ## nœ #œ œ œ
˙ œ
I64 I
#
& # ∑ ∑ ∑ ∑ ∑ ∑ ∑ YT:
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
243
kyI1OImD7ow
#
& # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
243
? ## ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure 19.1.5: Hoyt Axton, “Joy to the World” (1970)
This same bass line can be found (in the same harmonic rhythm) in “Part
of Your World.”
YT: SXKlJuO07eM
Figure 19.1.6: Howard Ashman and Alan Menken, The Little Mermaid,
“Part of Your World” (1989)
In the next example by Radiohead, the iv chord (borrowed from minor) is

preceded by the major IV chord.
C: I I/3rd wI/5th vi7 vi7/3rd w
vi7/5th vi7/7th
w w
˜/A˜ 235
b www
C ø67
iiE¯ I64 7/D
E____ F____
# wwww
19.1. C:MODE
IV ____ ____
w
MIXTURE
## #
5
? b # w
b b G n ww bb w
579
# ww
# B C Cm
& 1. E¯: V/ii # ww2. g: ww ww 3. e: ww b ww 4. A: Vww/ii
ww ww
V7/VI V42/iv 6
w wE7 w w7 w w w w
˙
C Am A Dm D7 G
??4# ˙˙˙˙w ˙˙ w# ˙˙˙˙

____ ____ ____ ____ ____ ____ ____
#w ˙˙˙ ˙˙w w# ˙˙˙ w˙˙ wwww w

583
4 ˙ ˙ w
G: I V/vi IV˙ iv
I
C: ____ vi
V7/____ vi
____ ii
V7/____ ii
____ V
V7/____ V
____
C C7 E7
F YT: ____ Am D7 G
˙˙ ˙ ˙˙ # ˙˙˙˙
____ ____ ____ ____
XFkzRNyygfk ____ ____
?4 b ˙˙ ˙˙ # ˙˙˙ ww
˙˙ ˙˙ ˙ ˙˙ ww
587
Figure 19.1.7: Thom Yorke, Jonny Greenwood, Colin Greenwood, Ed
4 ˙
O’Brien, Philip Selway, Albert Hammond, and Mike Hazlewood, “Creep”
(1992)
I
C: ____ IV
V7/____ IV
____ vi
V7/____ vi
____ V
V7/____ V
____
591
õ7/A ˜ø7/C õ7/A

w
Eo7 F____ F____ B____
bb b b mixturen wwwis also found ww Nirvana.

____
?Mode bb in nthe
b w w w # # # # # n # wwww
# wwwmusic#of the band
1. A¯: viio7/vi 2. c: viio65/V 3. e: viiø43/III 4. B: viio42/ii
F˜5
˙˙ n ˙˙ n ˙˙
n bb ˙˙˙
D5 B5 G5 B¯5 C5 A5 C5
? # # 44 ˙ ˙˙ ˙˙ ˙˙
595
˙˙ ˙ ˙ ˙ n˙ ˙ n˙
D: I iii vi IV ¯VI ¯VII V ¯VII
YT: pkcJEvMcnEg
Figure 19.1.8: Kurt Cobain, “Lithium” (1992)
In the example above for “Lithium,” the Roman numerals are analyzed as
triads instead of “5” chords because the third of the chord is either implied or
occurs in the voice part (not shown).
In the next example from the third movement Brahms’s Third Symphony,
the I chord alternates twice with a borrowed chord. The movement began in
C minor, so there are three flats in the key signature, but this section is in C
major.
236 CHAPTER 19. MODE MIXTURE
73
C Bo7/C (ped.) C
b nœ
& b b 38 œ n œ œ œ Aœ œ nœ œ œ nœ œ
π dolce
‰ œ ‰ b n œœœ ‰ œ
? b b 38 œœ .. œ œœ .
b (œ œ) .
J ped. pt.
C: I viio7 I
Bo7/C (ped.) C C/E F Bo
b b œ A œœ œ œ n œ œ œ œ œ nœ œ nœ œ
& b œ œ nœ œ œ nœ
œ ‰œ œœ n œ œ œ œ
? b b ‰œœ b n œœœ œ œ
œ nœ nœ
b (J J J
)
ped. pt.
viio7 I I6 IV viio
b
&bb
YT: UH324lgbxaI
Figure 19.1.9: Brahms, Symphony No. 3 in F major, Op. 90, III. Poco
Allegretto (1883)
? bb
b
A similar alternation between the I chord and a borrowed chord (2 VII7 )

happens in “Inchworm,” from the movie Hans Christian Andersen. Notice the
special quality of the borrowed 26̂ in the upper melody.
19.1. MODE MIXTURE 237
b
ˆ
& b b 43 œ œ
ˆ
bœ ˙ bœ
(6) (6)
œ œ œ œ ˙
23
Two and two are four, four and four are eight,
? b b 43 Œ œ œ œ Œ œ œ œ Œ œ œ œ œ œJ œœ œ Œ
3
b œ
3
3
Inch - worm, Inch - worm, meas - ur - ing the mar - i - golds,
b 3
& b b 4 Œ ˙˙ Œ ˙
E¯ D¯7 E¯ D¯7
˙ b b ˙˙˙˙ .... ˙˙ b b ˙˙˙˙ ....

? b 3 ˙. b˙. ˙. b˙.
bb 4
E¯: I ¯VII7 I ¯VII7
b
&bb ∑ ∑ YT: 6dd6e14ov2c
∑ ∑ ∑
27
Figure 19.1.10: Frank Loesser, Hans Christian Andersen, “Inchworm” (1952)
? bb ∑ ∑ ∑ ∑ ∑
b
b
&bb ∑ ∑ ∑ ∑ ∑
? bb ∑ ∑ ∑ ∑ ∑
b
A famous example of mode mixture occurs in the “Waltz of the Flowers”

from Tchaikovsky’s Nutcracker.
? b b ‰œœ b n œœœ œ
œ
œ œ
nœ
œœ n œ œ
nœ
b (J ) J J
ped. pt.
238 viio7 I CHAPTER
I6 IV19. MODE MIXTURE
viio
D Cõ7/D (ped.) D
#
& # 43 œœœ ... œœ ˙˙ ..
dolce cantando
˙ ˙˙ ..
p - b ˙˙˙ œ . œ ˙. ˙.
- - >
œœ œœ
œ
? # # 43 œ œœ œœœ œœœ œœœ œœ œœ œœ œœ
œ ( œ) œ œ
ped. pt.
D: I viio7 I
Cõ7/D (ped.)
- > >
D D
## - > pt >r
& œœ œ ( œ .. )
˙˙
P b œœœ ˙˙ œ ˙ œœ
- -
œœ bœ œ f.
? # # œœ œœ œœœ œ œ œœ ‰ j ‰ œœ. ‰
œ ( œ) J œ. J
ped. pt.
I viio7 I
YT: Kw0wLLVEMaA
Figure 19.1.11: Tchaikovsky, Nutcracker, “Waltz of the Flowers” (1892)
A similar melody occurs in “One Day I’ll Fly Away,” which, though it has
a different harmonization, still uses mode mixture.
? ## nœ #œ œ œ
˙
19.2. HARMONIZATION OF BORROWED SCALE DEGREES
œ 239
I64 I
# 3
& # 4
243 D Gm D
œ œ ˙ œ œ ˙.
œ
# # 3 ˙˙˙ ... ˙. ˙˙ ..
One day I'll fly a - way.
& 4 ˙. b ˙˙˙ ... ˙˙ ..

243
? # # 43 ˙ . ˙. ˙.
˙. ˙. ˙.
D: I iv I
YT: I8eNaVEEtC8
Figure 19.1.12: Joe Sample and Will Jennings, “One Day I’ll Fly Away”
(1980)
19.2 Harmonization of Borrowed Scale Degrees
Let us examine the ways 26̂ can be harmonized as root, 3rd, 5th, and 7th of a
borrowed chord.
30
& b b www b www b www b wwww b www b www

w bw
C: ¯VI ¯VII7
599
iv iio iiø7 viio7
¯6ˆ as: Root 3rd 5th 5th 7th 7th
605
Figure 19.2.1: Harmonization of 26̂
&
Here are the ways 23̂ and 27̂ can each be harmonized as root, 3rd, and 5th of
a613borrowed chord (notice some of these chords are duplicates from the previous
&
example).
620
&
& bw b ww b ww b ww b ww b ww
w w ww b ww
C: ¯VI ¯VII7
599
iv iio iiø7 viio7
240¯6ˆ as: Root 3rd 5th CHAPTER
5th 19.7thMODE MIXTURE
7th
bw
b ww b www b b www b www b www bw
& b ww
605 C: ¯III i ¯VI ¯VII v ¯III
30 ¯3 as: Root 3rd 5th ¯7 as: Root 3rd 5th
& b b wwwb www b ww b www b ww b ww

Figure 19.2.2: Harmonization of 23̂ and 27̂
611
w w ww b ww
30&
¯VI necessaryivto memorize ¯VIIas
599
It C:
is not iio the chordsiiø7in this section
viio7 so much 7
to
b www ww b www
¯6ˆ as:that
realize the quality
Root 3rd of diatonic
5thchords will5th
be altered7th
when a scale7th
degree
& b b w b ww b ww
bw w bw w ww
from the minor mode is included in the chord.
b ww
w
b ww b www b w
ww b ww
615
& b w w
iibo w
19.3 Analyzing and Writing Borrowed Chords
599
C: ¯VI iv iiø7 viio7
C: ¯III i ¯VI ¯VII v ¯III
¯6ˆ as:5thRoot
605
Unlike
¯3 as:secondary
Root chords,
3rd you merely note¯7the 3rd
as: root,
Root quality,
5th 5th of a 5th
3rdand inversion
7th
b www
borrowed chord in your Roman numeral analysis.
w
b www
622
&
b wwwwb bbwwwww b b www b www
So, for the following chord:
#
& w
611
& b wwww b wwww

M3
m3
m3
605 ? root ¯III

A isC: when qualityiis ø7 ¯VIiiø6 ¯VII v
G: ____ G: ____5
¯3 as: Root
stacked in 3rds;
A is 2ˆ
3rd
(m3-m3-M3) 5thnote is ¯7 as: Root
(bass 3rd
3rd of chord)
#
# b wwww b wwww
615
Notice that the root is A when you stack the notes in 3rds, and A is 2̂ in
&
611
b wwww
G major. The quality is half–diminished since the 3rds stack as m3–m3–M3,
&
M3
making this a iiø 7 chord. Since C, the 3rd of the chord, is in the bass, the m3
correct analysis is iiø 65 . m3
To write a borrowed chord from a Roman numeral, be sure to pay close
#
attention
622 to the quality of the Roman numeral.? A is root when quality is ø7
G: ____ G
& A: 2 VI stacked in 3rds; (m3-m3-M3)
AFis6, 2ˆthen stack 3rds
2 VI is built on 26̂ . Determine 26̂ in A major, which is
in the configuration M3–m3. The resulting triad contains F6–A–C6.
###
615
nw
& n ww
A: ¯VI
Be careful of flats before Roman numerals. Flats mean to lower a root a
m2 in the key signature, not to literally put a flat in front of the root of a
chord.
616
###
& Cadence with 2 VI
19.4 The Deceptive
The V –2 VI deceptive cadence is a deceptive realization of a deceptive progres-
sion. This V –2 VI cadence ties into the 2 VI –2 VII – I progression to produce an
“epic” (although somewhat clichéd) ending to the “Star Spangled Banner” as
19.4. THE DECEPTIVE CADENCE WITH 2 VI 241
performed at the Super Bowl and Presidential Inaugurations by artists such as

Whitney Houston, Beyoncé, and Lady Gaga, among others.
26
b U
Dø7 B¯7/D A¯/E¯ E¯7 F¯6 G¯add9 A¯
& b b b 43 œ œ œ. œ œ œ . 44 w
J w
246
j
And the home of the brave!
b U
& b b b 43 n œœœ œœœœ œœ .. (œ) œ
œœ œœœ 44 ˙ b ˙˙˙ ww
246
esc.
œ œ. b ˙˙ ˙ w
j U
w
? bb b b˙
b 43 n œ œ œ .. œ œ 44 b ˙
bF¯˙ 6 w
b ˙G¯add9 A¯
œ œ E¯
œ7
26
n œDø7 B¯œ 7/D A¯/E¯
b U
& b bb 43 œ œ5 œ4. œ œV7œ .
J
44 ¯VIw w
246 A¯: viiø7 V6 I6 ¯VII I
vi
j 4B
And the home of the brave!
bb# b#b 3 œAm œœE/B œœ . esc.( œœBsus 4 U

) œ
œœœ 4 ˙˙ b ˙˙˙ wwœ w
246
.
& # # 444 n œœœ œ œœ ˙ . œ . œ YT:œwKbkWuVUkPmY
&
C D E
wb ˙ ˙ ˙ .. wJ
250
j by Whitneybrave,Houston at theU
Figure 19.4.1: John Stafford Smith and Francis Scott Key, “The Star Span-
? # 3
Bowl b#b b# 44 n œ œ
gled Banner” (1814)
œ .
as performed
And the home
œ
of the
œ 4 b ˙ b ˙ w brave!Super
the1991
& #b 4 nnœœ (œ œ) ˙w. œ . (œ ) œw˙œ ˙ 4 n wwb ˙ b ˙n ww w w

250
œ w I6
A¯: viiø7 V56
˙ 7˙ n w
V ¯VI ¯VII
w I ww
? # # # # 44 n œ vi œ ˙ . n˙. œ n˙. œ œ w
4
œ ˙.
n œAm E/B œ ˙. œ ˙4. B n ˙C. œ n ˙D. œ œ wE
##
& # # 44E: ivœ œ I˙4 . œ Vsus
Bsus
w ˙ .. œJ w
250
w
6 6 4–3 ¯VI ¯VII I
##
& # ### ## 4 ∑ of the ∑ the brave!
256
And the home brave,
4 n œœ (œ ) ˙w. (œ ) w˙ ˙
250
& ww n www ww
œ w ˙ ˙ n n w w
####
∑ ∑
256
& # ## 4
? n ˙ . œœ w
# 4 nœ œ ˙. œ ˙ . n ˙ . œ
nœ œ ˙. œ ˙. n˙. œ n˙. œ œ w
? # # # # E: iv6 I46 ∑ Vsus4–3 ¯VI ¯VII∑ I
##
& ## ∑ ∑
256
YT: qGDH18R7GfA
####
∑ ∑
256
&
gled Banner” (1814) as performed by Beyoncé at the 2013 Presidential Inau-
guration
? #### ∑ ∑
? #### 4 n œ n˙. œ n˙. œ œ w
4 œ ˙. œ ˙.
nœ œ ˙. œ ˙. n˙. œ n˙. œ œ w
E: iv6 I46 Vsus4–3 ¯VI ¯VII I
D˜m G˜ø7/D F˜/C˜ C˜7 F˜

## #
D E
& # # # 44 œ œ ˙. œ œ œ w
256
œ
j
˙ œ œ œœ ˙ w ˙.
> >
And the home of the brave, the brave!
>œ> >œ>
# ## # 4 j Œœ œ Œœ œ
256
& # # 4 œœ n œœœ ˙˙ .... œœœ ww n ww Ó˙

œ œ ˙ .. w n n www w ˙˙
> >
? # # # # # 44 Œ œ œ >œ
> Œ œ œ >œ
>
# Ó
œ nœ w w nw nw ˙
œ nœ w w nw nw ˙
F˜: vi iiø43 I46 V7 ¯VI ¯VII I
YT: GbXSZBnBOQ4
gled Banner” (1814) as performed by Lady Gaga at the 2016 Super Bowl
This same V –2 VI deceptive cadence with 2 VI progressing to 2 VII followed

by I occurs in epic fashion at the end of the animated film Beauty and the
Beast from 1991.
19.5 The Picardy 3rd
It is rare to borrow from the major mode during a passage in a minor key. The
major tonic usually functions as V/iv if it’s not the last chord of a piece, and
raised 6̂ and 7̂ occur naturally as part of the melodic minor scale.
In minor, the one place to borrow from the major mode is at the end of a
piece in minor, with the use of the major I chord instead of minor i .
U̇
b 3 œœ œ œœ œ œœ œ œœ œ # œœ b œ œ œ œ
œ œ #œ œ
72
& 4 œ œ œ œ
œ œ œ œ œœ# œ # œœ # œ n œœ œœ œ # ˙˙
U̇
œ
? b 43 œ œ œ œ œ œ # œœ œ œœ œ œ
œ œ (œ) ˙
d: V 7 viio7 I
Picardy third
&b
YT: fTwkVsECg9w
?b
&b
?
b
&b
?b
Figure 19.5.1: J.S. Bach, French Suite No. 1 in D Minor, BWV 812, Sara-
bande
While the Picardy 3rd (the major third above the tonic) was most com-
monly encountered in the Baroque era, it has been used from then until now,
though with less frequency.
1.Cõ7Analyze
/B¯ Aõ7chords
theC¯following /G withC˜lead–sheet
ø7/G D/F˜ and Roman 31
symbols above
E¯m/G¯
30 numerals ¯III bassviiinversion
viio42 with figured o4/iii
2 iiø43 below.
symbols iv6 V6/V
b w
w w w
? # # bb wwwww b b bb wwb b www # b www# ww # # # # b www www b bb www ww b b b www w
____ ____ ____ ____ ____ ____
&
628
b # ww # nw wb w b b w# n ww
C: ¯VI ¯VII7
599
iv iio iiø7 viio7
D: ____ A¯: ____ G: ____ B: ____ B¯: ____ c: ____
¯6ˆ as: Root 3rd 5th 5th 7th 7th
1 2 3 4 5 6
b b www b www # b b wwwww w

bb b bbwwwww # # #b www# wwww b wb ww
____ ____ ____ ____ ____ ____
#
? # # # n ww
& b b wwww # ww bb ww w
634
ww
605 C: ¯III i ¯VI ¯VII v ¯III
¯3 as:E:Root
____ F:3rd
____ D:5th
____ ¯7E¯:
as:____
Root A: ____
3rd B¯:5th
____
1 2 3 4 5 6
# bw b wwwww bwwwww m3
611 D¯/F
____ A¯/E¯
____ Co/E¯
____ D/F˜
____ ____ Ao/C C
____
? b b ww b wwww# b ww
& b b ww # # # # n w m3b b www #b#wwwwn www
640 M3
b bw b ww
? A is root when quality is ø7 iiø65
G:6 ____ G: ____
N
c: ____ N64 stacked
e: ____
in 3rds;
iio6 c˜(m3-m3-M3)
N6 viio6/VI(bassb:note
Nis
A B¯:
is 2ˆ ____ : ____ d: ____ ____
1 2 3 4 5 3rd of chord)
6
### ## ____n w b b ____ # ____

615
w b #
b w # b ww b b ww
w w
____ ____ ____
& # # # wwwn ww b b b ww
& n # www b b ww
646
w w
A: ¯VI
f˜: ____
616
2. Given the Roman numeral,
f: ____ key,e:and
____key B¯:
signature,
____ notate
D: ____the chord
d: ____on
the staff, and1 analyze with
2 lead–sheet
3 symbols.4 5 6
##
____ ____ ____ ____ ____ ____
bbbb ## # bb
652 ____ ____ ____ ____ ____ ____
& #
& b
1. E¯: 6
A:Niv 2. a:f:NV4/V 3. D: ¯III
D: ¯VI 4. c: vii
o7 ø6
F: ii/V 5.
e: B¯:
ø4
viio42ii/iv2 ¯IIIN
6. G:
B¯:
6
3 5
###
622
bbb ## bb bbbb #
____ ____ ____ ____ ____ ____
____ ____ ____ ____ ____ ____
&
?
658
E¯: ¯VII7 b: V56/iv A: ¯III g: viio7/V A¯: iiø43 G: iio6

1. c˜: 6. f˜: N6
#
628 N6 2. b: N 3. G: ¯VII7 4. d: viio65/V 5. F: N46
3. Analyze the following excerpt with lead–sheet symbols above and Roman
numerals with figured bass inversion symbols below. Analyze notes that
are non–chord tones by putting parentheses around them and specifying
them by type.
__________ __________ __________ __________
b 12 œ. œ œ œ œ. œ
& b b 8 œJ œ
74
J
œ œœœ œœ b œœœ œ œœœ œ œœœ
espress. dolce
? b b 12 œ .œ œ œ
b 8 ‰ .œ .œ
* œ.
°
° * ° * ° *
E¯: __________ __________ __________ __________
__________ ___________ ____________ ___________
œ Tbn œ œ bœ. œ.
& bbb œ J
J
œœ œœ œœ
nœ œ œ œ b œ œœœ œœ œ
? bb œ œ. œ œ
b . œ œ
œ *
° ° * ° *
° *
__________ ___________ ____________ ___________
& 44 www
Lead-sheet: ____ ____ ____
YT: bVeOdm-29pU
____ww
w
Figure 19.6.1: Chopin, ____
Rom. num.: ____
Nocturne in E–flat major, Op. ____
9, No. 2 (1832)
? 44 w
____
Function: Tonic
L.S.: ____ ____
Mode mixture
(with ¯6) ____
Tonic __________
____
w
& www www www
?
w w w
R.N.: ____ ____ ____ ____
Func.:__________ Secondary of V __________ __________
Chapter 20
The Neapolitan Chord
20.1 The Neapolitan Chord

The label “Neapolitan” is used in classical music for the 2 II chord and is
labeled as “ N ” instead of 2 II . For example, when the Neapolitan chord occurs
in first inversion—its most common inversion—it is labeled as N6 .
Being a chromatically altered ii chord, the Neapolitan has pre–dominant
harmonic function.
Notice the special character of the Neapolitan and how composers some-
times alter texture, register, and dynamics when the Neapolitan occurs, as in 75
the first movement of Beethoven’s Symphony No. 7, Op. 92.
œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ

Bm7/D
6 œœœœœœœœœœœœ
A
### œ œ œ œ œ œ œ œ œ œ œ œ
& 8
ƒ
œœ œœ œ. œœ
? ### 68 œ. œ œ j ≈œ œ œ. œ. œœ
œ. œ . œ œ œœ
œ.
A: I ii65
# # # œœœ œœœ œœœ œœœ œœœ œœœ b œ .. œ

œ œœ œ œ
B¯/D E7 A
nœ.
& œ œ œ œ œ œ b œ #œ.
π cresc. ƒ
? ### œœ œœ n œb œ œ œ œ œ œ œ œ œ œ œ n œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ
œ . œ œ œj ≈ œ œ œ œ œ œ œ
N6 V7 I
###
& YT: -4788Tmz9Zo
Figure 20.1.1: Beethoven, Symphony No. 7, Op. 92, I (1812)
? ###
247
##
& #
œœ œœ œœ œ . œ œ .
? # # # 68 j œ. œ œœ
œ. œ. œ œ
œ . œ œ ≈
œ. œ œ
248 CHAPTER 20. THE NEAPOLITAN CHORD
# œœœ œœœ œœœ œœœofœœœthe

œœœ Neapolitan
b œ . n œ . Chord œ œ
œ œœ œ A
A: I ii65
20.2# Examples
& # œ.
œ œ œ œ œ œ bB¯/D #œ.
E7
π cresc. ƒ
? ### œœœœ n œb œœœœœœœœœœœ n œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ
œ . œ œ œj ≈ œ œœœœœ œ
N6 V7 I
#### C
C˜m C˜m/B
&
3 3 3 3 3 3 3 3
œœ œœ œœ œœ œœ œœ œœ œœ
sempre π e senza sordini
#
? ## # C w w
w w
c˜: i i42
D/F˜ G˜7 C˜m/G˜ G˜sus4 G˜7 C˜m

####
A
& œ œ œ
3 3 3 3 3 3 3 3
œ œ œ œ œ œ œ nœ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ
? #### œœ
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ œ
VI N6 V7 i64 V4 7
3
i
YT: 57zT4A13z3g
Figure 20.2.1: Beethoven, Moonlight Sonata, Op. 27, No. 2, I (1802)
For comparison, play the example above from the Moonlight Sonata and
4 4 . 4
try other pre–dominant chords in its place, like iv ( F m ) or ii◦ 6 ( D ◦ F ),
while noting the difference in effect.
The next example is a well–known movie theme.

20.2. EXAMPLES OF THE NEAPOLITAN CHORD 249
œ. œ ˙.
& 44 œ . œ œ. œ ˙
76 C D¯
œ. œ
? 44 Œ œœœ ‰ ‰ œœœ œœœ œœœ ‰ Œ bœ œœœœ

b œœ ‰ ‰ œœ œœ œœ œœ ‰ Œ
J J J
C: I N
G7 (no 3rd)
œ œœ ‰C œ œœ œœ ‰ œ œ.œ ‰ œ œœ œœ.
& 4œœ œ œœ . œœ
˙ œ œ. . œ
D¯
& 4 œ . œ œ. œ ˙
76
œ œ
j
? Œ œ Œ œ œ œœœ Œ bœœ œ œ
? 44 Œ œ œ
œœ ‰ ‰ œœ œœ œœ ‰ œ œœ‰œœ œœœœœ Œ
Œ b œ ‰ ‰ œœœœ‰ Œ
V7 J J J
C: I N
G7 (no 3rd)
œœ ‰ œ œœ œœ.
YT: ML-RqsAG09o
œ œœ ‰ œ œœ œœ ‰ œ œœ
& œœ œ œ œ œ. œ
Figure 20.2.2: John Williams, Raiders of the Lost Ark, “Raiders March”
(1981)
j
? Œ œ Œ œ Œ œ ‰ œ Œœ
chords (like IVœ, iv , or iiø 65 ) inœplace of the Neapolitan
œ chord
As with the example from the Moonlight Sonata, try other pre–dominant
in the example
above, V
and
7 notice the difference in effect.
The next example shows the harmonic progression from main theme of the
recent Star Trek movies.
& b 44 w
Dm B¯ E¯ A
ww ww ww b ww ww # ww ww
ww w w w w w w w
? b 44 w w bw w
w w w w
w w w w bw w w w
d: i VI N V
&b
YT: EO1FZEUbZJE
Figure 20.2.3: Michael Giacchino, Star Trek, “End Credits” (2009) (chords
only)
?b
b 4 w w w w
w w w w bw w w w
250 d: i VICHAPTER 20.N THE NEAPOLITAN
V CHORD
w
Gõ7/D Am/C Gõ7/B Am
www
& 44 # www # wwww ww
B¯/D Am/C E
w b ww ww # ww ww
w w w w
? 44 w w w w w w
w w
w w w w w w w w
a: viio43 i6 viio6 i ø7 N6 i6 V
Cõ7/B¯ C¯ Aõ7/G 5 C˜ /G E¯m/G¯ D/F˜ 31
viio42 ¯III o4
vii 2/iii ø4
ii 3 iv6 V6/V
? # ww b b b ww YT:# rD5wQROo_bs # w b w b w
____ ____ ____ ____ ____ ____
# Cwww˜wø7/G# # # #E¯m/G¯
628
Cõ7/B¯ # b wwC¯ b b A˜bo7w

/G # n www ivb6 b D/F
ww ˜ b 6b # n ww 31
viio42 ¯III viio42/iii iiø43 V /V
D: ____ A¯: ____ G: ____ B: ____ B¯: ____ c: ____
? # # b wwww b b b b b www # # ww # # # # www b b ww b b w

628 ____ ____ ____ ____ ____ ____
1 2 3 4 5 6
Hans bZimmer
____ and #Antonius
ww Tom #____n Holkenborg,
w b____ b ____
w Batman # wnvwwSu-
b w w w (chords only)
____ ____
# #D:# ____
? #Dawn w #Red ww are # #____
b ww____ # #B¯: www b b c:b ____
ww
Figure 20.2.4:
n wwww b A¯:b www____ wCapes b b B:

634
# G: ____ b
perman: of Justice, “The Coming” (2016)
1 2 3 4 5 6
# # bowwww b b4www # # # #ow5www b b www6

E: ____
____ F: ____ D: ____ E¯: ____
____ A: ____
____ B¯: ____
____
# # # # n ww Exercises
20.3?Practice b w w
634
1 2 3
ww b ____ ww b b ____D/F˜ b ____
1. Analyze bthe w following
D¯/F A¯/E¯ C /E¯ A /C C
b www____lead–sheet
____ ____ ____
? b b E: ww____ # F:b ww____

bassb binversion # #E¯: n
wwsymbolsA:babove
# # ____ ww and# www use
640
w # n
chords with Roman
b w b
D/F˜w
D: ____ B¯: ____
.b w
numerals with figured symbols below. Remember to
1 2 3 4 5 6
“ N ” instead
D¯/F of 2 IIA¯/E¯ Co/E¯ Ao/C C
b ww G: ____ b 3www
N6
____ N6
____ iio6
____ c˜:____
N6 viio6/VI
d:____ b:____
N
b w #### ww b ww # n www
c: ____ 4 B¯: ____ ____ ____ ____
? b w # w b n____
640
b b ____ ____ b ww b w____ # ____

1 2 4 5 6
# # # # w b b bbw # ww b ww # # b wwww b b ww
bb
____
# 1ww G:b____
646
& c: ____ b ww B¯: ____ n # ww b w d: ____ b: ____

2 w w6
c˜: ____
3 4 5
# # # symbol. # #
f˜: ____
4
bb 2 w3 b b w4 # ww5 b w6
2. Given
N6 the Roman
N6 numeral,
f: iio6
____
____ please write
N6
e: ____
____ B¯:theviinotes
____ o6/VI of____
D: the
N chord
d: ____ and
#w b b bw n # www b ____ b ww b w
646
& # ww b ww
lead–sheet 1 Include key signatures.
652 ____ ____w
w ____ ____ w
____
& f˜: ____ f: ____ e: ____ B¯: ____ D: ____ d: ____

1 2 3 4 5 6
652
N6
1. E¯:____ 2. a:____
N ¯III 4. c: vii
3. D: ____ o7
____/V 5. B¯: iiø4
____ N6
6. G:____
2
& ____ ____ ____ ____ ____ ____
?
658
1. E¯: N6 2. a: N 3. D: ¯III 4. c: viio7/V 5. B¯: iiø4 6. G: N6
2
1. c˜:____
N6 2. b:____
N 3. G: ¯VII
____7 ____
4. d: vii o6/V 5. F:____
N46 6. f˜: ____
N6
?
658 5
3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 +2+2 +2+ 2
>
. >œ7 ‰4. d:>œviio65œ/V>œ ‰5. F:>œN46>œ >œ6.#fœ˜: Nœ 6
#1.# c4˜: N>œ6. >œ ‰2. b:>œ N œ >œ 3.‰ G:>œ¯VII
664
123 1 2 3 1 2 3 1 2 3 123 1 23 1 2 3 1 2 3 12 1 2 1 2 1 2
& 4 J J
3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 +2+2 +2+ 2
# # 4 >œ . >œ ‰ >œ œ >œ ‰ >œ . >œ ‰ >œ œ >œ ‰ >œ >œ > >œ
664
123 1 2 3 1 2 3 1 2 3 123 1 23 1 2 3 1 2 3 12 1 2 1 2 1 2
& 4 J J œ #œ
Chapter 21
Augmented Sixth Chords
21.1 Augmented Sixth Chords
Augmented sixth chords are a special class of pre–dominant chords with

notes that approach the dominant (5̂ ) from a half–step below (44̂ ) and from
a half–step above (26̂ ) simultaneously. 33
˜4ˆ 5ˆ ˜4ˆ 5ˆ
? #˙ ˙ ˙
b b b # ˙˙
705
b ˙ ˙ ˙
C: ¯6ˆ 5ˆ c: ¯6ˆ 5ˆ
707
?
Figure 21.1.1
In minor, 26̂ doesn’t require a flat because 6̂ is lowered in the minor key
?
signature. 714
21.2 Types of Augmented Sixth Chords
There are three ?

722
general types of augmented sixth chords—the Italian aug-

mented sixth chord (“ It+6 ”), the French augmented sixth chord (“ Fr+6 ”),
and the German augmented sixth chord (“ Ger+6 ”). These geographic la-
bels have persisted throughout the years despite the fact that no reasoning has
?
been found for these 730 designations. 1
All types of augmented sixth chords contain scale degrees 26̂ and 44̂ . To
these two scale degrees, the It+6 adds 1̂ . The three notes of the It+6 (26̂ , 44̂ ,
and 1̂ ) form the foundation of the Fr+6 and Ger+6 . The Fr+6 adds 2̂ to the
Italian augmented sixth chord’s 26̂ , 44̂ , and 1̂ , and the Ger+6 adds 23̂ to the
?
Italian’s 26̂ , 44̂ ,738and 1̂ , as is shown in the example below.
1 The 1964 Harvard Dictionary of Music states these chords are “rather point-
lessly. . . distinguished as ‘Italian,’ ‘German,’ and ‘French’ sixth. . . ”
251
C: ¯6ˆ 5ˆ c: ¯6ˆ 5ˆ
252 CHAPTER 21. AUGMENTED SIXTH CHORDS
#w # w b # www # b # wwww
707
b ww b www
˜4 ˜4 ˜4
& b w
˜4 2 ¯3 ˜2
1 1 1 1
¯6 ¯6 ¯6 ¯6
33
C: It+6 Fr+6 Ger+6 EnGer+6
b ˜4ˆ # ww 5ˆ ˜14 # w˜ww4ˆ # www

711
b
˜4 5ˆ
& #b˙ ˙ w b ¯6 # ˙ ˙ w w
˜4
?
705
2 ¯3
b ˙ ˙ +6b b ˙ ˙ +6
1 1
¯6 ¯6
c: It Fr Ger+6
b
714 C: ¯6
ˆ ˆ c: ¯6ˆ of Augmented
5ˆ
&bb
Figure 21.2.1: 5The Three Types Sixth Chords in Major and
Minor
#w # w b # www # b # wwww
707
b ww b www
˜4 ˜4 +6 ˜4
& b w
˜4 first line—the Enharmonic
The final chord on the 2 German¯3 ˜2
or EnGer+6 —respells
b
the 1
729 23̂ as a 42̂ because the EnGer
+6 1 only to major 1I6 . The EnGer+6 1
resolves
&bb
¯6 ¯6 ¯6
4
¯6
does not occur in minor.
# ww ˜4 # www # www ˜¯3

711
b
21.3 Analyzing Augmented4 Sixth Chords
b b w chords has 1been to w
w
˜
& our process for analyzing
4
b
2
1
& b b c: It+6
Since
735
¯6
stack them
1 up in thirds to
determine the root and quality, it is worth ¯6
examing these ¯6 augmented sixth
four
chords as stacks of thirds. Fr+6 Ger+6
714
bw
& # b www # b wwww b # www # # b wwww
b
&bb
741 o3 o3 o3 o3

718
bbb # www # wwww

www
(don't forget about the key signature when in minor)
& o3 o3 #w o3
c: It+6 Fr+6 Ger+6
b
Figure 21.3.1: Augmented Sixth Chords Stacked in Thirds
&bb
721
Notice that all augmented sixth chords contain a ◦ 3 when stacked in 3rds.
None of the chords we have studied so far contain diminished thirds.
Principle 21.3.2 Augmented Sixth Chords. When you encounter a chord
b b b you determine the chord you are analyzing has a 3, analyze the scale
with
741 a diminished third, it is an augmented sixth chord.
& Once ◦
degrees to determine which type of augmented sixth chord it is.
21.4 Lead–Sheet Analysis of Augmented Sixth Chords

When using lead–sheet symbols for augmented sixth chords, we will treat them
as major–minor seventh chords built on 26̂ , since that matches the sonic qual-
ity of the augmented sixth chords and is similar to how they occur and are
spelled in jazz and popular music. The chords in parentheses are enharmonic
respellings of the three augmented sixth chord types.
bbb # www w
w www
& # ww 3
o
o3 # w o3
21.5. EXAMPLES WITH AUGMENTED SIXTH CHORDS 253
c: It+6 Fr+6 Ger+6
#w bw # www ∫ b www b # www b b www

721 A¯7 (no 5th) A¯7(¯5) A¯7
& b ww (b ww ) b w ( b w) b w ( bw )
C: It+6 Fr+6 Ger+6
Figure 21.4.1: Augmented Sixth Chords Stacked in Thirds
b
&bb
727
In the example above, we see a disagreement between “Classical” analysis

and lead–sheet analysis. The fundamental concept of lead-sheet analysis is
to show root, quality, and inversion. The “Classical” spelling and the Classi-
cal analysis of augmented sixth chords show the direction of resolution (with
the chromatically raised notes), which necessitate the need for original labels,
since we don’t have a Roman numeral or a lead–sheet symbol that would com-
municate a chord containing a diminished third above the root (that is then
inverted!).
Therefore, when you are asked to provide lead–sheet symbols for augmented
sixth chords, analyze each one as if it is a dominant 7th chord with a misspelled
2 2 4 2 2 2
7th (A –C–E –F instead of A –C–E –G ).
21.5 Examples with Augmented Sixth Chords
21.5.1 The Italian Augmented Sixth Chord
The first examples, from the first movement of Beethoven’s Fifth Symphony,
shows an Italian augmented sixth chord ( It+6 ) in C minor with the “Classical”
spelling.
77
b bb 2 œ œ œ ˙ œ œ œ œ ˙
& 4
‰ œ œ œ ˙ œ˙ œ œ œ
˙ n˙
? b b 42 ‰ Œ
b
U̇
Cm A¯7(no 5th) G
b b œ œœ œœ œœ œœ
& b œ œ œ œ Œ # œœœ Œ nœ
œ Œ
j f u
œ cresc. œ
? b b n œ n œœ œœ œ
œ œ Œ
œ
Œ œ U
Œ
b œ œ
i It+6 V
b
&bb YT: _4IRMYuE1hI
Figure 21.5.1: Beethoven, Symphony No. 5, Op. 67, I (1808)
? bb
b
The next example from popular music has an It+6 spelled enharmonically
as a major–minor seventh chord with the fifth omitted.
b
29
&bb
# Em j B
& c Œ œ œj œ . œ Œ ‰ jœ bœ.
C7 7 Em
œ œ œ
279
? bb œ œ
b
# j
Don't mean a thing if it ain't got that swing
279
& c ∑ ∑ b ˙˙ œ
#œ.. n œœœ œœœ
?# c œ œ œ
œ œ œ #œ œ œ œ œ #œ œ
e: i It+6 V7 i
#
& ∑ ∑ ∑ ∑ ∑ ∑
283
YT: LYfF9VKMp4w
#
∑ ∑ ∑ ∑ ∑ ∑
283
Figure 21.5.2: Duke Ellington, “It Don’t Mean A Thing (If It Ain’t Got That
&
Swing)” (1931)
?# ∑ ∑ ∑ ∑ ∑ ∑
289
& # œ œ. œ œ. # œ œ. ‰ œ œ. . œ œ.
? # c Œ # # œœ œœ. ‰ # # œœ ˙˙ b œ . 255
Œ b œJ œœ ‰ b b œœ
˙
21.5. EXAMPLES WITH AUGMENTED SIXTH CHORDS
J
21.5.2 The French ˙
Augmented Sixth Chord 3
3 3 3
e: i
C7
#
& b˙ œœœ Ó
3
3
œœœ
The next example contains an example of a French augmented sixth chord
( Fr+6 ). Notice how (the
) French augmented sixth chord has pre–dominant func-
( )
tion and intensifies the drive toward the V chord.
? # ˙˙
˙ ˙
Ger+6
Fõ7/E¯ E¯7(¯5) D
b œœ œœ œœ œj ‰ # œœ œœ œœ œœ
Gm Gm
& b 42 œ œ œœ
.
œœ
. . .
˙˙œ # œ n œ œ œœ
œ
π œ. œ. # œ. œ.
œœ. œœ. œœ. œœ. œœ œj
? b b 42 œ‰ œ . œ œ œ. œ. œ. œ. ˙ œ
g: i viio42 Fr+6 V i
b
&b YT: xti0xkrIZjQ
Figure 21.5.3: Schubert, Winterreise, D. 911, “Der Wegweiser” (1823)

? bb
21.5.3 The German Augmented Sixth Chord
The following example, from Rossini’s William Tell Overture, has a German
augmented sixth chord leading to a chord of dominant function, the I64 chord.
? bb œ œ
b nœ œ œ œ Œ œ Œ œ Œ
256 i
CHAPTER It+6
21. AUGMENTED V
SIXTH CHORDS
n˙ œ œ nœ œ #˙ œ œ œ
C/E E
#
## # 2 n ˙ œ œ nœ œ #˙ œ œ œ œ
& 4 œ
S j S j
n˙˙ nœœ ˙ œœ
? # # # # 42 n ˙œ œ œ œ n œœ ‰ Œ # ˙˙œ œ œ œ œœ ‰ Œ
J J
E: ¯VI6 I
œ nœ œ œ œ
C˜
˙ œ #œ œ œ #˙
C7 E/B
#### ˙ œ #œ œ #˙ œ nœ œ œ œ
& œ J
S j S
˙ œ j j
? # # # # # ˙˙œ œ œ œ # œœœ ‰ Œ n n n ˙˙œ œ œ œ n n œœœ ‰ Œ œ
# œœ
J J œ
J
V/ii Ger+6 I64
YT: oGPys3sKBHw
Figure 21.5.4: Rossini, William Tell Overture (1829)
John Coltrane’s minor blues, “Mr. P.C.,” contains a German augmented

sixth chord (spelled as VI7 in minor) progressing to the V chord. (Note: The
bass line in this example is a jazz “walking” bass, which doesn’t stick strictly
to chord tones.)
w bw
IV7 ¯VI
b j
Cm A¯7 G7 Cm B¯ Cm
& b b c œ œ œ b œ ‰ œ . œ . b œ ‰ œ œj œ œ
275
˙ œ œœ
b j
&bb c Ó Œ œ Œ
275
˙˙ œœ .. œœ
b ˙˙˙˙ .... œœœ n œœœ
œ œ
œœ ˙ œ. œ
? bb c
b œ œ œ œ œ œ œ
œ nœ œ œ œ nœ bœ
c: i Ger+6 V i VII i
YT: oHDsywpCHj4
Figure 21.5.5: John Coltrane, “Mr. P.C.” (1959)
The next example is a movie theme and features a German augmented

sixth chord spelled as a major–minor seventh chord ( VI7 ). In this particular
case, the third of the chord doesn’t occur until the fourth beat of the measure.
78
#
Em
& c Œ Œ j Œ œj œ Œ j œ ‰ œ œ ‰ œ œ. ‰ œ œ ‰ œ
3 3 3
3 3 3 3
# œ œ. . #œ . . .
? # c Œ # # œœ œœ. ‰ # # œœ ˙˙ b œ œ. b œ
Œ œJ œ ‰ b œ
b
˙
J ˙ 3
3 3 3
e: i
C7
#
& b˙ œ ( œ) œ Ó
3
3
œ (œ ) œ
? # ˙˙
˙ ˙
Ger+6
#
& YT: KEt_FkMkaO4
Figure 21.5.6: Henry Mancini, “The Pink Panther Theme” (1963)
? # #Œœ#œœj
3
#
&
?#
Fiona Apple’s “Criminal,” from 1996, features German augmented sixth

chords in the verse ( F7 in the key of A minor) as well as in the pre–chorus,
seen in the example below.
28
C B¯ A¯7 G
& c ‰ œj œ . œ œ œ b œ œ œ œ .
271
œ œ œ bœ œ œ. œ œ œ
j
I've come to you 'cause I need gui - dance to be true And I just
&c ˙ ˙ b b ˙˙˙ n œœ .. # œœ
b ˙˙
271
˙ œ.
?c œ œ œ bœ œ œ b˙ ˙
œœ œ bœ œ œ b˙ ˙
C: I ¯VII Ger+6 V
F7 A¯
& bœ œ œ œ œ œ œ. œ œ œ œ ‰ bœ œ
œ bœ. œ
273
œ œ œ bœ
don't know where I can be - gin Ooh
& b www w
273
bw
?
w bw
w bw
IV7 ¯VI
& ∑ ∑ ∑ ∑ ∑ ∑ YT:
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
275
FFOzayDpWoI
&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
275
?∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure 21.5.7: Fiona Apple, “Criminal” (1996)
A repeating progression of Am – F7 – E ( i – Ger+6 – V in Roman numerals)

occurs in “Friend Like Me” from the movie and musical Aladdin.
?# c œ œ 21.
œ œ œ #œ œ AUGMENTED
œ œ œ œ #œ œ
260 CHAPTER SIXTH CHORDS
e: i It+6 V7 i
b bb b ∑
283
&
YT: 0HdwdptrmQQ
b b21.5.8: ∑
283
&
?(1992)
bbb ∑
Figure Alan Menken and Howard Ashman, Aladdin, “Friend Like
Me”
21.5.4b The Enharmonic German Sixth

& b b œ œ œ œ œ œ œ œ œ œ œ œ œ. ∑ ∑
284
In the following example an “Enharmonic German augmented sixth” chord oc-

œ
as œan nEœ6,œ creating
œ œ œ the interval œ n œ œ œ sixth, while
ofœ anœaugmented
2 2 2 2 2
œ œ œ œ ofœa œdoubly
curs.
Christina PerriWhile a G 7 chord would normally have the notes G –B –D –F , the F2
jar of Hearts
b b œ œ œ œ œ œ œ œ œ
284
b n œ n œ
is respelled the
&
fifth of the chord, D 2, is œ
respelled as a C 4 , creating the interval œ
augmented fourth. In fact, some music theory textbooks refer to the Enhar-
œ œ œ œnœ œ œ œ bœ œ œ œnœ œ œ œ œ œ œ œnœ œ œ œ bœ œ œ œnœ œ œ œ

monic German augmented sixth chord as “the chord of the doubly–augmented
? b
fourth.” The spelling is this way because the C4 will resolve upward to a D6,
bb
the third of a major I64 chord.
p
288
G¯7 B¯/F F7 B¯
b 6 j
&b 8 ∑ Œ ‰ Œ œ œJ . œR œJ
288
œ
Am leuch - ten - den
b
& b 68 ≈ œ n œ # œ ≈ nœ #œ œ bœ ≈ œ œ œ œ ≈ œ œ œ ≈œœ
œ œ
p
? b b 68 œ bœ œ. œœ œœ
b˙. œ. œ.
B¯: EnGer+6 I46 V7 I
YT: PMFUeLdhhuM
Figure 21.5.9: Robert Schumann, Dichterliebe, Op. 48, “Am leuchtenden

Sommermorgen” (1840)
21.6 Descending Chromatic Bass Lines
A common musical pattern is the descending chromatic bass line (1̂ –7̂ –27̂ –6̂
–26̂ –5̂ ). Composers harmonize descending chromatic bass lines with all manner
of harmonies, including secondary chords, borrowed chords, augmented sixth
chords, and rarely–used diatonic chords. Below are some examples from the
past four centuries.
21.6. DESCENDING CHROMATIC BASS LINES 261
30
b œ . œ œ . œj # œ œj # w
Gm D7/F˜ G7/F C/E Cm/E¯ D7
& b 32 ˙ ˙ ˙ ˙ ˙ n˙
291
J .
b
291
& b 32 w
When I am laid, am laid in earth,
˙˙ (6)ˆww ˙ w˙
w
w w ˙ (6)ˆ ww
bb b 3 œ œ b œ ˙ bœ
& 4πœ œ œ œ ˙
23
w
? b b 32 Two and ˙two #arew four, n ˙˙ four nand ww w
b ˙˙ are weight,
w four
? b b g:43 iŒ œ œ œ VŒ 6 œV24œ/iv Œ IV 6 œ œ œ œ iv6

J œ œ œV œ Œ
3
b œ œ
7
bb ∑ ∑ Inch∑- worm,∑ ∑ Inch ∑ - worm,

∑ ∑ meas ∑ -ur∑- ing ∑the ∑ mar∑- i - golds,
∑ ∑
295 3
&
3
b b 3 Œ Œ ˙ Z. 636, “When˙ I. am laid in

E¯ 7
D¯YT: E¯ D¯ 7
b
& 21.6.1:4 Henry
˙˙ Purcell, ˙˙˙Dido
... and Aeneas,
s-F19lgB0Ow
˙
b ∑ ∑Lament)
earth” b(Dido’s ∑ ∑
b b
∑ ˙ .∑ ∑ ∑ ∑˙˙ ∑ ∑ ∑b b ˙˙˙∑... ∑ ∑
295
Figure
& (1688)
? b 3 ˙. b˙. ˙. b˙.
bb 4
? b b E¯:∑ I ∑ ∑ ∑ ¯VII ∑ 7 ∑ ∑ ∑ I ∑ ∑ ∑ ∑¯VII∑7 ∑ ∑
27
b
& #b 3 Ó ∑ ∑ ∑ # œw ∑# œ ˙ # ˙˙ ∑ ˙˙ . # ˙ œ∑ ˙˙
310 cru - ci - fi - xus e - ti - am pro - no - bis
& 2 œ œ ˙˙ # ˙Ó ˙ n œ˙ œ # ˙˙
Ó
bb fi ∑- xus, ∑ ∑ ∑ ∑ cru ∑ ci
310 cru - ci - fix - us e - ti - am
&
∑ . ˙˙ ˙˙
-
? # 32 ∑ ∑ ˙ ˙ ˙
? bb Ó
∑ ∑ ∑ ∑ cru - ci ∑- fi - ∑ xus,
# ˙˙ ˙ ˙˙˙
Aõ7/E B/D˜ Dm7 Gõ7/D A/C˜ Am/C C7(¯5) Em/B B
˙˙ n ˙ n ˙˙ ˙˙ # ˙˙
B7
˙˙
˙˙ # ˙˙
Em
& 32 ˙ ˙˙ # # ˙˙ n ˙˙ # ˙ ˙ ˙
? # 32 œ œ œ œ #œ œ nœ œ œ œ #œ œ nœ œ œ œ œ œ œ œ œ œ
œœ
e: i viio43/V V6 vii7 viio43/iv IV6 iv6 Fr+6 i64 V 7
YT: hY7CGrR6sPc
Figure 21.6.2: J.S. Bach, Mass in B minor, BWV 232, Crucifixus (1733)
œ œ œ œ œ œ œ œ ¯6 œ œ œ+6œ n œ¯6œ œ œ b œ œ œ œ n œ œ
? b b 44 c: It+6 n œ œ b œ Frœ+6 n œ œ
714 b Ger
bw
& # b www # b wwww b # www # # b wwww
c: i V6 i24 IV6 i V6 i42 IV6
o3 o3 o3 o3
C7/B¯ GerF/A 7
b 3 Œ œ .. œ œ. ‰ n œ œ œ n œ. ‰ œ ..œR œ. ‰ œ œ n œ œ # œ. ‰ œ œb œn œ œJ ‰
C:Cm
It+6 G/B Fr+6 +6 A¯
EnGer+6 Cm/G
b
& b 4(don't forget n œ key signature
J œ .œthe
R about J when inJminor) J #œ.
w œ.
718
b w w w
&bb # ww # www # ww
33
j
o3 5 o3 o3
c: ˙It. +65
˙˙ .. ˙. . œœ ‰
? 3 ˜4ˆ
˙˙ . # ˙˙ .
ˆ
˜4ˆ 5ˆ Ger+6
? b#b˙b 4 ˙ ˙˙ .. bA¯b 7n(no
˙# .˙ ˙ b n ˙˙˙ ... b ˙˙ ... œœ
705 Fr+6
n ˙.
b ˙ ˙ b ˙ ˙
# wwc: i b ww V6 # ww bw b b # wwwwGer+6 bw
721 7
A¯ (¯5) A¯7
(∫ b www ) (b b www )
5th)
&C: ¯6ˆb w (5ˆ b w ) c:b w¯6ˆw

V42/iv IV6 i46
5ˆ
b
&bb
C: It+6 Fr+6 Ger+6
#w # w b # wwww # b # wwww
707 YT: UoWXRlw9vBA
b ww 1 b www
˜4 ˜4 ˜47
& 1 b
˜
Am 21.6.3: Beethoven, C+maj
4 7/G˜ D/F˜ Am/G Fmaj
Figure 32 Variations
2 in C minor,
¯3 WoO 80 (1806)
˜2
?4b b ‰ œ œœ œ œ œ
1 1
Itœ+6 œ œGer+6# œ œ œ EnGer œ +6œœ

¯6 ¯6 ¯6 ¯6
b
˙ œ # ˙ œ Fr n ˙ n œœ
727
V4 #˙
C: +6
b i # ww ˜III+ 4 M4 # w # www IV˜¯364

711
b
& b
a:
w ¯61 3 w w
w i42˜2
4
w VIM7
1 1
Gm +6j Gm/F+6j
¯6 ¯6
C7/E +6
b 4 œœœ ‰ œ œ œ œ Œ ‰ œœ œœ œ œ b wŒ œ œœ œœ œ œ Œ œ œœ œœ œ œ
E¯
c: It Fr Ger
714
730
b
V 4 œ bœww œ œ œb œwwœ œœ œœ b nwwœœ œœ œœ œœ bbwwœ œ œ œ
& # w o3 # ww o3 # w o3 # # ww o3
i It+6
g: C: 4 +6
iFr Ger 6
IV+6 VI +6
EnGer
2 5
718
b w
&bb # www # wwwwYT:oVJDJs9dumZI
# www
o3 3 o3
c: It+6 George Harrison,

Figure 21.6.4: Fr+6 “While My +6
GerGuitar Gently Weeps” (1968)
# ww bw # w ∫ bb wwww b b # wwww b bb wwww

721 A¯7 (no 5th) A¯7(¯5) A¯7
& b w (b ww ) b www ( ) ( )
C: It+6 Fr+6 Ger+6
Am C+maj7/G˜ Am/G D/F˜ Fmaj7
‰ œ œ œ œ œ œ œ #œ
4
V4 ˙ œ
œ
#˙ œ œ #˙ œ œ œ œœœ
727
n˙ nœ
a: i III+M43 i42 IV6 VIM7
730
V YT: iXQUu5Dti4g
Figure 21.6.5: Jimmy Page and Robert Plant, “Stairway to Heaven” (1971)
g: i viio42 Fr+6 V i
21.6. DESCENDING CHROMATIC BASS LINES 263
D¯maj7(˜11) Fm
b
& b b b c œœ œ œœ œ œœ œ œœ œ n œœ œ œœ œ b œœ œ œœ œ œœ œ œœ œ œœœ œ œœœ œ œœœ
Fm Cm/E¯ Dø7
? bb b c j j œ . œjœ .
b œ . œ œ . œj n œ . j
œ bœ. œ œœ œ
f: i v6 ˜viø7 VIM7 i
YT: 89dGC8de0CA
Figure 21.6.6: Steven Tyler, “Dream On” (1973)

b 2 w w
g: i V6 V24/iv IV6 iv6 V7
# # # # c Cœ˜mœ Œ Œ
G˜/B˜
‰ œ œ # œ œ œ œ œ œ œ œ . ‰ œj
295
V
r
####
Wait - ing on a Sun - day af - ter - noon For
œ
c œœ œœ ‰ . œœ ≈ œœ œœ œœ œœ œœ œœ œ œ ‰ . # œœœ ≈ œœ œœ œœœ œœœ œœ
V œ œ œ œ œ œ œ œ œ #œ œ R œœ œ
295
r
t #### c œ œ ‰. œ ≈ œ œ œ œ œ œ œ #œ œ ‰ . œr ≈ œ œ œ œ œ œ
c˜: i V6
#### œ
C˜7/B A˜ø7
j
œ œ.
297
V œ nœ œ œ œ œ œ #œ Œ
what I read be - tween the lines
# # # # œ œ ‰ . œr ≈ œ œ r
297
V œœ œœ œœ œœ œœ œœ ‰ ≈ œœ ≈ œœ œœ
# œœ œœ œœ œœ œœ œ œ œ œ nœ œ œ œœ
t # # # # œ œ ‰ . œr ≈ œ œ œ œ œ ‰ ≈ œr ≈ œ œ
œ œ # œ œ œ
V24/iv ˜viø7
YT: yjJL9DGU7Gg
Figure 21.6.7: Robert DeLeo and Scott Weiland, “Interstate Love Song”
(1994)
21.7. CHROMATIC PRE–DOMINANT CHORDS 265
79
Cm G/B Cm/B¯ F/A Cm G/B Cm/B¯ F/A
b œ œ œ nœ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œnœ œ
& b b 44 œ
? b b 44 œ œ n œ œ b œ œ n œ œ œ œ n œ œ b œ œ n œ œ
b
c: i V6 i24 IV6 i V6 i42 IV6
b
& b bb YT: 8v_4O44sfjM
? bb b Figure 21.6.8: Christina Perri, “Jar of Hearts” (2010)

b
Below is a table comparing the harmonizations of these descending bass

lines.
Bass Line 1̂ 7̂ 27̂ 6̂ 26̂ 5̂

Purcell i V6 V42 iv IV6 iv6 V

Bach i – vii◦ 43 V V6 vii7 – vii◦ 43 iv IV6 iv – Fr+6

6
i64 – V6

Beethoven i V6 V42 iv IV6 Ger+6 i64

Beatles i i42 IV65 VI

Led Zeppellin i III +M 4
3 i42 IV6 VIM 7
Aerosmith i i42 4 viø 7 VIM 7
S.T.P. i V6 V2 iv
4 4 viø 7 ( VI )

Perri i V6 i42 IV6
Table 21.6.9
For the harmonization of scale degree 6̂ , remember that the concept of 4 vi◦
was introduced when Roman numerals in minor were introduced. The notes
of the 4 viø 7 chord belong to the melodic minor scale.
21.7 Chromatic Pre–Dominant Chords
The table below shows how our study of chromatic harmonies in recent chap-
ters includes the chromatic expansion of the pre–dominant harmonic function
category.
Ton. Ton. Prol. Pre–Dom. Dom. Ton.

I iii IV vii◦ I
vi ii V
V/V
vii◦ /V
iv
32 iiø 7
õ/B A˜____
o7/C˜
# w
E¯7 F/A G¯7 N6 A 7(¯5) G____
? b b www
____ ____ ____ ____
# n ww b n ww # # # # ‹ wwww b n # www # # # wwww

666
It , Fr , Ger
+6 +6 +6
w bTable
b w 21.7.1
Ger+6 e: ____
g: ____ N6 It+6
B¯: ____ c˜: ____
Fr+6 viio6/V
d: ____ viio65
b: ____
1 2 3 4 5 6
# www b b b ww # b # wwww # # # n # ww b n w b w
21.8 Practice Exercises ____
____ ____ ____ ____ ____
? #
672
1. #
Analyze bthewfollowing
b b ∫chords # # nsymbols
w with lead–sheet # b wwwandb bRoman
ww b above www
32 numerals with figured bass inversion symbols below.
D: ____ A¯: ____ G: ____ B: ____ B¯: ____ c: ____
# w
? b b www # n ww b b n ww
____ ____ ____ ____ ____ ____
# # # # ‹ www b n # www # # # wwww

666 1 2 3 4 5 6
w ____ b w____ w
### # w bb b n w # w bb # # # www b n w
____ ____ ____ ____
www e: b____ww B¯: ____

b www c˜:b____
ww
678
& g: ____ w4 w
d: ____ # b____
b: www
1 2 3 5 6
# w
˜: ____
b w
Given fthe Roman f:numeral,
____ G: ____ write
g: ____
the notesb: of
____ F: ____
? # # symbol.
w w ##
please the chord and
b w key
# signatures.
2.
www b b b b ∫ ____
ww w # # # n # www b b # n www b b b www
672
# b ____
lead–sheet 7 8
Include 9 10 11 12
684 ____ n w ____ b w ____w

& D: ____
1
A¯: ____
2
G: ____
3
B: ____
4
B¯: ____
5
c: ____
6
1. c˜: Fr+6 3. G: EnGer+6
### # w bb b n w # w bb
2. F: It+6 4. a: viio65/V 5. d: Ger+6
# # # www b n w
w b w b w
678
& ww____
Click here to w
ww____first homework
download the b w ____ assignment
ww forwthis chapter.
____ #____
b www
? here to download the second homework assignment for this chapter.
689
Click
f˜: ____
Click here to download the Unit
f: ____ G: 4____
Practiceg:Test.
____ b: ____ F: ____
7 8 9 10 11 12
1. E¯: It+6 2. a: Ger+6 3. D: EnGer+6 4. c: V43/V 5. B¯: Fr+6
684
____ ____ ____ ____ ____
?
&
694
c˜:f:FrN+66
1. 6. 7. 2.
A¯: It+6
F:vii ø7/V 3. G: EnGer
8. b: Fr+6
+6 4.
9. a:
F:vii
o6
¯III546/V 5. cF:˜: Ger
10.
+6
viio42/iv
Fõ7
?
689
F¯/A¯
____ ____ B¯ ____ ____F ____ Cø7/B¯ A¯/C
____
? b b b ww w ## n w b b n www b b b wwww # b b www

699
b b w +6 b ww w b
1. E¯: It 2. a: Ger+6 n w3. D: EnGer#+6 w 4. c: V43/V 5. B¯: Fr+6
?
694
6. f: N6 7. A¯: viiø7/V 8. b: Fr+6 9. F: ¯III46 10. c˜: viio42/iv
F¯/A¯
____ B¯
____ F
____ Fõ7
____ Cø7/B¯
____ A¯/C
____
? b b b ww w ## n w b w # b b www
b b b # n wwww b b www
699
bb w b ww n ww
Chapter 22
Modulation
22.1 Modulation
At its simplest, modulation is a change of key that happens within a compo-

sition. In popular music, the change of key will often be called a “key change”
instead of a “modulation.” Those who study classical music theory typically
reserve the term “modulation” for the slower and more subtle change of key
that occurs in many classical pieces, although there are similarities between
“key change” in popular music and the classical music term “direct modulation”,
which we will study later in this chapter.
Here are examples of key changes in popular music.
YT: Ob7vObnFUJc
Figure 22.1.1: Beyoncé Knowles, Terius Nash, and Shea Taylor, “Love on
Top” (2011)
267
268 CHAPTER 22. MODULATION
YT: AjnJDBHmN18
Figure 22.1.2: James Horner and Will Jennings, “My Heart Will Go On”
(1997)
22.2. TONICIZATION VERSUS MODULATION 269
YT: lDK9QqIzhwk
Figure 22.1.3: Jon Bon Jovi, Richie Sambora, and Desmond Child, “Livin’
on a Prayer” (1986)
22.2 Tonicization versus Modulation
Studying modulation will require us to distinguish between tonicization, which

we studied recently, and modulation. Tonicization, involving secondary chords,
can be as short as two chords ( V/V to V , for example) but can sometimes
encompass several measures as in the following example.
31
b œ œ œ ‰ œ œ œ œ œ nœ œ œ œ œ ‰ œ
299
&bb œ J œ J
trau - rig ge - seh'n, so kann es auch jetzt nicht beim Ab - schied ge - scheh'n, so
b œ
&b b œ œ œ œ œ œœ œ œ œœ œ œ œœ œœ œœ œ œœ
299
œœ œœ œœ œœ œ œ œ œ œ
? b b j ‰ œj ‰ j ‰ œj ‰ j ‰ œj ‰ j ‰ j ‰ j ‰ œœ œœ‰Œ
œœ
b œ œ œ J
œ œ œ
E¯: I vi V7/vi vi
b œ œ œ œ j
302
&bb œ œ œ œ œ œ ‰ œ ˙. ‰ œJ
kann es auch jetzt nicht beim Ab - schied ge - scheh'n, A - de! du
b œ
& b b œ œ œ œ bœ œ œ œœ œœ œ œœ œ œœ n œ œ œ œœ œ œœ
302
œ œ œ
œœ œ œ œ œ œ
j
? bb j ‰ j ‰ j ‰ œ ‰ j ‰ œ œœ œœ ‰ Œ œj ‰ œ œ œj ‰ œ œ
b œ œ J œ œ œ œœ œ œ
œ œ
305
IV V7/IV IV ii V/ii ii V/ii
b œ œ
&bb œ œ œ œ œ œ ˙.
305
œ œ n œ œ œ œ ( œ ) œœ œ œ
mun - tre, du fröh - li - che Stadt, A - de!
b nœ œ
& b b œ œœ œ n œœ œ œœ œ œ œ œ œ
? b b œj ‰ œ œ œj ‰ œ j j
cresc.
b œ œœ ‰ œ œ œœ ‰ œ œ j ‰
ii V/ii ii V/ii ii V/ii ii V I
YT: Wod-JellQ88
Figure 22.2.1: Schubert, Schwanegesang, D. 957, “Abschied” (1828)
Below is a reduction showing the underlying diatonic progression of the

example above.
752
test ?
1. F: V56/IV
22.2. TONICIZATION c˜: N6
2. VERSUS 3. A: iv6
MODULATION 4. e: viio42/V 5. D: Fr+6 271
? bb w
(with tonicizations)
˙ ˙ w
œœœœ œœœœ œœœœ w
757
b ˙ ˙ w
E¯: I vi IV ii V I
? b b (without
w
766
w w w
˙. œ w
tonicizations)
b w w w
Lead-sheet: ______ ______ ______ ______ ______ ______ V______
( œ) œ b œ œ
E¯: I vi IV ii I
b . œ œ ( )b œ œ œ n œ b œ) n œ“Abschied”
œ
&?b b b b ( œ)œ œ # œ œ . (from
82
J Jœ w œ. (
775
Reduction
( ) of Harmonies
J
Figure ( ) 22.2.2:
)
A modulation tobaœœnew key requires

œ n œœœ
an# eventual œœ n btoœœœ confirmœœthat new
? œ œ b œ b œ œ œ
b b œcadence œ
œ œwill often (though œ œcadential
cadence
key. This not always) have the following ˙
formula:
B¯: ______ ______ ______ ______ ______ ______ ______
Lead-sheet: ______ ______ 6 ______ ______
V ______I ______ ______
œ . ( œ)
ii I64
b J œ. œ (œ ) œ œ (œ ) œ (b œ ) œ œ œ œ
Pre–Dom. Dom. Dom. Ton.
&b Table 22.2.3:
) ( ) # œ . (œ ) w
J Cadential Formula to( Establish a Key
œ b n œinœœ Tonal Music,

œ
b œbookœ Form
?In bhis œ b œœ
œ œ œ Douglass n œœœ defines
˙
˙ a V – I œauthentic
# œ œ œœ ˙
Green
cadence with a pre–dominant prefix as a “full cadence.”
Theg:cadential
______ formula
______ above
______is found
______in the following
______ example.
______ ______
m m j
3 œœ. œ n œ œ˙. œ
j
œ œ œ ˙˙˙ n œ œ œ œ œ n œ ( n œ )œ ˙ .
ret.
& b 4 œœ œœ œ œ œ œ œ œ œ œ œ œ ˙˙ .
bœ
œ œ ˙ œ ( )
? 3 œœ œœ œ
ret.
œ. bœ œ ˙ œ ˙ œ œœ œœ œ œ œ
b 4 œ nœ œ œ. œ œ œ œ œ ˙
..
˙
F: I V7 I
modulating...
C: I6 ii6 I64 V I
&b
YT: 9WQbN91tpWI
?
Figure 22.2.4: J.S. Bach, English Suite No. 4 in F Major, BWV 809, Sara-
b
bande (ca. 1715)
Notice that this cadential formula establishes a key more strongly than
the simple V – I of an authentic cadence. This means there will be ambiguity
between a tonicization and a short modulation ending in an authentic cadence,
especially in music with fast harmonic rhythm, like Bach chorales (usually in
quarter–note harmonic rhythm).
F: I V7 I
modulating...
C: I6 ii6 I64 V I
sus.
#
œ # œœ œœ œ # œœ œ
4 - 3
& c œœ œœ œœ œ œ (œ )
( )
œ
œœ œ œ œ œœ œ œœ (ptœ)
pt
? # c œœ œ œ
œ œ œœ
œ
G: I vi IV6 V7 I V42/V V6 V/V V7/V V
(as a tonicization of V)
G: I vi IV6 V7 I
D: IV V42 I6 V V7 I
(as a modulation to D)
YT: tVJy904MiIY
Figure 22.2.5: J.S. Bach, Christmas Oratorio, BWV 248, “Ermuntre dich,
mein schwacher Geist,” (Chorale) (1734)
To determine pivot chords and the new key, listen to the music to hear the
cadence in the new key, then work backward from the cadence to see if the
dominant in the new key was approached by pre-dominant chords ( ii or IV )
in the new key. Then, analyze from the beginning of the phrase until you reach
the new key. Finally, look for a logical pivot point. Sometimes two successive
chords could logically be pivot chords. If so, include two chords on either side
of your pivot bracket.
83
# # # 2 œf . œ œœ œ œ œ j 3
œ
œœ œœ œ œ œ œ œœ œœ œ œ œœ # œœ
œ
3
& 4 œ . œ œ . œ œœ œœœ œ œ œœ ..
œœ œ.
fœ œ œ œ œ œ œ œœ œœ œœ œ
? # # # 42 ‰ œ œ œ œ. œ J œ. œ œ œ
f œ
A: I V6 IV6 I46 V7 I IV I I V6 I
E: I6 IV I64 V7 I
#
& c YT: Qy8NLd7d6VE
?# c
Figure 22.2.6: Robert Schumann, Album for the Young, Op. 68, No. 17,
“Little Morning Wanderer” (1848)
Before we start analyzing and writing modulations, we will examine key
#
&
?#
22.3. KEY RELATIONSHIPS 273
relationships and pivot chords.
22.3 Key Relationships
In the Baroque and Classical eras, composers typically modulated to the dom-
inant (when starting in a major key) or to the relative major (when starting in
a minor key). In the Romantic era, composers experimented with modulating
to more remote (or perhaps adventurous) key areas, described as “foreign” to
the home key.
“Closely related” keys have key signatures one degree “sharper” or “flat-
ter” than the starting key. For any major or minor key, there are five closely
related keys, including the relative major or minor of the home key.
35
Home key
A
D one degree one degree E
## ### ####
775 "flatter" "sharper"
&
b f˜ c˜
(relative keys with same key signature)
Figure 22.3.1: Closely Related Keys with A Major as Home Key
Key signatures that are not closely related are said to be “foreign” or
“distantly related.” We will see that some types of modulations from the
Romantic era, like common–tone modulations, exploit foreign key relationships
to dramatic effect.
##
22.4 Modulations with Diatonic Pivot Chords
& ##
778
Modulations with pivot chords will be analyzed using a pivot bracket, as we’ve
seen earlier in the chapter.
785
#
In #a# diatonic
#
& common chord modulation, the pivot chords will be
diatonic in both keys.
˙
F: I V7 I
modulating...
C: I6 ii6 I64 V I
sus.
# œ # œœ œœ œ # œœ œ
4 - 3
& c œœ œœ œœ œ œ (œ )
( )
œ
œœ œ œ œ œœ œ œœ (ptœ)
pt
? # c œœ œ œ œ œ œœ
œ
G: I vi IV6 V7 I
D: IV V42 I6 V V7 I
both I and IV are diatonic
(as a modulation to D)
G: I vi IV6 VYT:
7 I V 4/V V6
2
tVJy904MiIY V/V V7/V V
(as a tonicization of V)
35
Home key
Figure 22.4.1: J.S. Bach, Christmas
A Oratorio, BWV 248, “Ermuntre dich,
mein schwacher Geist,” (Chorale)
one degree (1734)
D one degree E
## ### ####
&
f˜ c˜
22.4.1 Determining Common Chords Between Keys
b
In order to compose a diatonic common chord modulation, you need to deter-
mine which chords are diatonic—having the same root and quality—in both
keys.
G major: G Am Bm C D Em Fõ
D major: D Em F˜m G A Bm Cõ
Figure 22.4.2: Diatonic Common Chords in G major and D major
We can repeat this process with Roman numerals, aligning the roots of the
chords in the two keys.
778
####
22.4. MODULATIONS WITH DIATONIC PIVOT CHORDS 275
R. N.: I ii iii IV V vi viio

D major: G A Bm Cõ D Em F˜m

R. N.: IV V vi viio I ii iii
Figure 22.4.3: Roman Numerals for Diatonic Common Chords in G major

and D major
If you are a composer wanting to write a diatonic common chord modula-

tion, you need to determine the best place within a progression to pivot to the 83
# 2 f œ œœ j
new key. To do this, you need to consider the harmonic function of the pivot
# # œ . œ œ œ œ
# # # # & 4 œ . œœ œ . œ œœ œœœœ œœœ œœ œœ œ œ œ œœ œ œ œ œœ # œœœœ œœ ..
3 3
chords.
778
& 22.4.2 Harmonic Functions of Diatonic Pivot Chordsœ .

fœ function,
œ œœ œœ suchœœ a œmodulation might
#
? # # 42 ‰ œ œ œ œ . œ new
œ œ œkeyœ because
In terms of harmonic composers typically do not use a pivot chord
œ J . œ key
sound abrupt and unconvincing. Instead, the pivot chord in theœfirst
œ œoften
that has dominant function in the
f function. œ
## #
785
# has tonic or tonic prolongation
&
In the following
A: I example,
V6 IV6 I46the
V7 pivot chord
I IV I Isimultaneously
V6 I has tonic function
in the first key and pre–dominant function in the second key. This creates a
E: I6 IV I6 V 7 I
more seamless and less jarring progression to the second key.4
#
& c œœ œœ œœ œ # œœ œœ œ # œœ
œ (œ )
œ
œ
œ
( )
? # c œœ œ œœ œ œ œ œœ œ œœ (œ) œ œ œ
œ œ œ
Harmonic function in G: Ton.
G: I vi IV6 V7 I
D: IV V42 I6 V V7 I
Harmonic function in D: Pre-Dom.
#
&
YT: tVJy904MiIY
Figure 22.4.4: J.S. Bach, Christmas Oratorio, BWV 248, “Ermuntre dich,
?#
mein schwacher Geist,” (Chorale) (1734)
The pivot chord in the first key, G, has tonic harmonic function, while in
the second key, D major, the G chord has pre–dominant function.
Observe the harmonic function of the pivot chords in the following examples
from Bach chorales.
G: I vi IV6 V7 I
D: IV V42 I6 V V7 I
Harmonic function in D: Pre-Dom.
#### œ nœ œ œ œ œ œ
& œ œœ œ œœ œœ œ œ J œ
J
œ j
œ œ œ œ œœ œœ œœ n œ œ œ œ
? #### œ œ œ œ
œ œ
Harmonic function in E: Ton.
E: I V6 V7 I ¯VII6
A: V IV6 viiø7 I V 7 I
Harmonic function in A: Dom.
YT: gl4FNanCrbc
Figure 22.4.5: J.S. Bach, Chorale 4, “Es ist das Heil uns kommen her”, BWV
9
U jœ œ U
b j
& b b c œœ œœ œœ n œ œœ œœ. œ n œ œj œ œ œœ .. .
84
œœ œ œ œœ œ œ œ ˙
œ J ˙
œ bœ œ œ œ œ œ . œj œ œ œ œ b œ ˙
? b b c œœ n œœ b œœ œ œ œ œ œ œ œ bœ œ œ œ bœ œ ˙
b
u u
Harmonic function in f: Ton.
f: i iiø65 V7 i i i
A¯: vi viio64 I6 I ii56 V 7 I
Harmonic function in A¯: Ton-Prol.
b
&bb YT: NE-uciPxYFE
Figure 22.4.6: J.S. Bach, Chorale 8, “Freuet euch, ihr Christen”, BWV 40
? bb
b
22.5 How to Recognize a Key After a Modulation
Look for the following cues when examining music containing modulations:
1. Look for recurring accidentals, then add them to the key signature to
determine the new key
(a) Lowered notes (like flats) usually create 4̂ (as do the flats in key
signatures)
22.6. MODULATIONS WITH CHROMATIC PIVOT CHORDS 277
(b) Raised notes (like sharps) often create 7̂ , the leading tone
i. If there are multiple raised notes, look for the “sharpest of
sharps” (in key signature order) to determine which sharp is
acting as 7̂
2. If accidentals are canceled out, they indicate tonicizations or chromatic
non–chord tones
85
n
E cancels out E¯, which means
m
E¯ is lowered note acting as 4ˆ
E¯ represented a tonicization
bœ ˙
& b 43 œœœ. œ ˙˙ œœ œœ ˙˙
œbœ ˙ n œœ œ œœ œ œœ
œ œ œœ
œ œ œœ
œ ˙ œ ˙ œœ œœ œœ œ œ œ
? b 43 œ ˙ œ ˙ œ œ
œ
F: I V7/IV IV V42 I6 V24 I V7 I
Bn occurs 3 times and isn't canceled out, representing a modulation

Bn is a raised note acting as 7̂
m j
& b œœœ. œ n œ œ˙˙. œ
bœ
j
œ œ œ ˙˙˙ n œ œ œ œ œ n œ (n œ ) œ ˙
œ œ œ œ œ œ œ œ ˙˙ ..
œ ( )
? b œ. bœ œ ˙ œ ˙ œœœœœ
nœ œ œ. œ œ œ œ œ
œ ..
œ œ ˙˙
F: I viio42/V V65/V V6
C: I6 ii6 I64 V I
multiple secondary chords
destabilize F major cadential formula affirms new key
YT: 9WQbN91tpWI
Figure 22.5.1: J.S. Bach, English Suite No. 4 in F Major, BWV 809, Sara-
bande (ca. 1715)
22.6 Modulations with Chromatic Pivot Chords

You will sometimes encounter examples where the pivot chord is a chromatic
chord in at least one (and sometimes both) of the keys involved in the modu-
lation.
22.6.1 Secondary Common Chord

Below is an example where the pivot chord is a secondary chord in both keys.
32 278 CHAPTER 22. MODULATION
b œ
&bb Œ Ó ∑ ∑
308
b œ œ
& b b œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ
308
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? b j‰ œ ‰ j‰ œ ‰ j‰ œ ‰ Œ ‰ œj ‰ j ‰ œ n œ
bb œ J œ J œ J œœ j
œ œ œ nœ
E¯: I ii6
b
&bb ∑ ∑ ∑
311
b
& b b œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ n œ œœ œœ
311
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? b b j ‰ œj ‰ j ‰ œ œ j ‰ œ ‰ j ‰ œ ‰ j ‰ œ ‰ Œ
b œ J œ J œ J
œ œ œœ
E¯: V I V7/ii
A¯: V7/vi
b ‰ j œ
&bb ∑ Ó Œ
314
œ
œœ œœ
A - de!
b b œ œœ b œœ œ œ
&bb
314
œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ
œœ œ
b œœ œœ œœ b œœ œœ œœ
? b
bb j ‰ b œJ ‰ j ‰ œ
œ œ ‰ œ ‰ œ ‰ œ ‰ œœ ‰
J J J J œ
bœ œ J
A¯: IV I64 V7 I64 V I
YT: Wod-JellQ88
Figure 22.6.1: Schubert, Schwanegesang, D. 957, “Abschied” (1828)
22.6.2 Borrowed Common Chord

In modulation by borrowed common chord (or mode mixture), the pivot
chord will be a borrowed chord in one of the keys involved in the modulation.
In the following example, a borrowed chord, i6 in D2 minor, rewritten as a
C minor chord, is reinterpreted as vi6 in the second key, E major.
4
f: i iiø65 V7 i i i
A¯: vi viio64 I6 I ii56 V 7 I
22.6. MODULATIONS WITH CHROMATIC PIVOT CHORDS 279
Harmonic function in A¯: Ton-Prol.
œ œ œ ˙
b œ.
& b b b 43 J
dolce
b
& b b b 43 œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ b œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ
D¯: I V43
œ. œ œ. œ #œ œ. œ
œ œ
& bbbb J J J
cresc. dim.
b œœœ œœœ œœœ

& b b b b œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ n œ # # œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ
D¯: V42 I6 i6
E: vi6
#œ nœ. œ œ
bbbb J nn n n # # # # œ œ œ œ œ œ œ œ œ œ œ œ œ
&
π p
b n ## j
& b b b # œ # n œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ n n n # # œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œœœ ‰
E: V6 V56 I
YT: H3S8slvoHoU
Figure 22.6.2: Beethoven, Piano Sonata No. 31 in A2 major, Op.110, I,
(1821)
22.6.3 Neapolitan Common Chord
A particularly adventurous and imaginative pivot is the Neapolitan, which can

bridge the gap between two foreign (or distantly related) keys.
34
b b 2 œ nœ œ œ #œ œ œ ‰ œ b˙ œ. œ bœ œ ∑
& 4 J J
330
fol - gen auf luf - ti - ger Bahn. Wo - hin? wo - hin?
b 2 œœ ‰ n œœ œ ‰ œœ ‰# n œœ ‰ œ ‰ œ b ˙˙ ˙ ˙ ˙
3 3
b
& 4 œ œ œ œœ œœ b˙ ˙ ˙
π
330
œœ n œ œœ # n œœ
3
œ œ b ˙˙
3
b b ˙˙
3
? b b 42 œœ œ œ œœ ˙˙ ˙˙
d: i iio6 i46 V i N56

a¯: V56 i V
bb ∑
YT: IvjZiYVZUIY
∑ ∑ ∑ ∑ ∑ ∑
337
&
Figure 22.6.3: Schubert, Schwanegesang, D. 957, “Frühlingssehnsucht”
(1828)
b
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑
337
In the example above, Schubert bridges the tonal distance between D minor
and A2 minor with N65 (note the dominant–seventh quality of the Neapolitan
? bb ∑ ∑ ∑ ∑
in this instance), which acts as a V65 in A2 minor, a tritone away from D
minor. ∑ ∑ ∑
22.6.4 Augmented Sixth Common Chord

b
&b ∑ ∑ ∑ ∑ ∑ ∑
344
In the next chapter, we will examine how Augmented Sixth chords are enhar-
monically reinterpreted in a process known as enharmonic modulation.
b
& b Modulations
∑ ∑ Without
∑ Pivot
∑ Chords
∑ ∑
344
22.7
This section contains the following subsections below:
?
b b Modulation
• Direct ∑ ∑ ∑ ∑ ∑ ∑
• Common–Tone Modulation
• Sequential Modulation
22.7.1 Direct Modulation

Direct modulation (also known as phrase modulation) is a type of modula-
tion where a composer decides to move suddenly to a new key without using
pivot chords or preparing the new tonic with its dominant.
a¯: 6
a¯: V
V556 ii V
V
22.7. MODULATIONS WITHOUT PIVOT CHORDS 281
## 2 r r œœ œœ œœ ##œœ œœ œœ
œ œœr œœr j RR RR
& 442 JœJ JJ
337
& œœj RR RR
337
brin - ge die Grü - sse des Fer - nen ihr zu.

brin - ge die Grü - sse des Fer - nen ihr zu.
## 2 œœ
œ œ œ œœ œ œ œœ œ œ œœ œ œœ ##œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
337
337
& 442 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& œ œ œœ œ œ œœ œ œ œœ œ œ œœ
?
? ## 4242 œœ ≈≈ œœ.. œœ.. œœ.. œœ ≈≈ œœ.. œœ.. œœ..
e: o7
e: ii vii
viio7/i/i ped
ped ii
## œœJ j r
& ∑∑ œœR œœR œjœ rœrnrœ œ œœ œ œ œRœ œRœ œJ ‰ ‰ c
339
& J n œ R R J
339
R R œ
All' ih - re Blu - men im Gar - ten gep- flegt,
All' ih - re Blu - men im Gar - ten gep-flegt,
## # œ œ œœœ œ œœœ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ

339
339
& œœ # œ œœ œœ œœ œ œœœœœœ œœœœœœœœ œœœœœ œœœ œœœœœœœœ œœœœ œœ œ œœ œœ œœ œ œœ œœ œœœ œœœœ nœœnœœœœœœœ œœœœœ œœœ œœœœ œœ œ œ œc
&
œ ## œœ œœ . œ. . œ. . œ. œ . œ.. œ.. œ.
? ## œœœ..
?
‰‰ œœœœ ≈ ≈ œœ œ œœ œ œœ œ œœ œ ≈ ≈œœ œœ œœ œ c
e: o7 7 ped
e: vii
viio7/i/i ped
ped ii C:
C: II V
V7/I
/I ped II
YT: uTWQRjGkprQ
Figure 22.7.1: Schubert, Schwanegesang, D. 957, “Liebesbotschaft” (1828)
In the example below from the second song of the same song cycle as the
example above, Schubert does not attempt to change gradually from C minor
to A2 major, but instead stops on a half cadence in C minor and begins on the
tonic in A2 major in the next bar.
? #### c ‰ ˙ ˙ bbbb 43
˙ ˙ nœ
282 E: vi Vsus4 IVadd922.
CHAPTER vi64 MODULATION
A¯: vi
b
& b b 43 ∑ ∑ ∑ c
346
b 3 r j r j U
& b b 4 œœœ ...... œœ œœ ‰ œœ œœœ ‰ c
?
346
œ œ œ .. ˙.
n œœ .... œ n ˙˙ ..
? b b 43 r j ‰ r œj ‰ U
b œ .. c
œ œ œ .. œ œ ˙.
œ .. œ œ œ .. œ ˙.
c: i64 V i V
bb b Etwas ‰ œj œ œ. j
349
& c Ó Œ
schneller.
œ œ
Wie hab' ich oft so
œœœœ œœœœœ œ œœœœ œœœœœ œ

? bb c œ œ œ œ
349
b
3 3 3 3
3 3 3 3
? bb c j j j j
b œ ‰ œ ‰ œ ‰ œ ‰
œ œ œ œ
A¯: I
YT: mLTyrvgKDUo
Figure 22.7.2: Schubert, Schwanegesang, D. 957, “Kriegers Ahnung” (1828)
Direct modulation is the most common type of “modulation” found in pop-

ular music. At the beginning of this chapter we defined this type of modulation
in popular music as “key change.”
22.7. MODULATIONS WITHOUT PIVOT CHORDS 283 35
œœ œ bœ
#### c œ œ œ œ œ œ œœ œ œ . œ œ œ œ . J
bbbb
342
&
#### C˜m Aadd9 C˜m/G˜
b b b b n b œœ
342
Bsus4 Fm
& c ‰ ˙˙ ˙˙ ˙˙˙ ˙˙
˙ ˙ ˙ n b œœ
? #### c ‰ ˙ ˙ bbbb
˙ ˙ nœ
E: vi Vsus4 IVadd9 vi64 A¯: vi
b
& b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
346
YT: AjnJDBHmN18
b
& b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
346
? bb b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b
Figure 22.7.3: James Horner and Will Jennings, “My Heart Will Go On”
b
& b bb
(1997)
∑ ∑ ∑ ∑ ∑
354
b
& b bb ∑ ∑ ∑ ∑ ∑
354
With direct modulation, composers do not make any attempt to connect
? bb b
two different keys through any pivot chords or common tones. In the next sec-
b ∑ ∑ ∑ ∑
tion, we examine how composers connect two keys through a common tone. ∑
22.7.2 Common–Tone Modulation
In common–tone modulation, two chords are connected through a single

note to bridge to distance between two keys.
In the following example, the note C4 acts as a hinge between a C4 major

chord ( V in F4 minor) and an A dominant seventh chord ( V7 in D major).
284
Sr Sr
CHAPTER 22. MODULATION
Sr
‰ Sœœr ˙˙
. œ œ ‰ .Sœr ˙ œ ‰ . Sœr ˙
90
# 44 # œ
œ œ‰ . œ œ œ‰ . œ ˙ œ œ # œ œ‰ . œ ˙ œ
90
& ### œ
90
44 #œ #œ œ#œ œ œ œ œ œ œœ œ œœœ #œ #œ œ#œ œ œ œ œ

& #!!œ !! !! #!!œ !!œ !! !!œ !!œ !œ! ! !!œ !œ! !œ!œ #!!œ !! !! #!!œ !!œ !! !!œ !!œ
!!! !!!!
? ## 44 r œ Œ Œ ‰. œ r
? ## 44 œ Œ Œ ‰ .. œ r œ Œ Œ ‰ . Rœ œ Œ Œ ‰ .. œ r
œ Œ Œ ‰ œ R œ Œ Œ ‰ œ
f ˜: V i V
ff ˜˜:: V
ƒr
V ii V
r r r
V
# œ œ ‰ . œr ˙ œ #œ Œ Œ ‰ .ƒœ r œ ‰ . œr œ ‰ . œr
œ ‰ œ ˙ œ # œŒ œ Œ œ œ‰ . œ œ œ ‰. œ œ œ ‰. œ
& ### œ œ œœ .!œ œ œœ œ œ # œ # œ # œ œ ##!œœ !œ !œ !œœ # œ œ ## œœ œ œ œ œœ œ
& !œ ! ! !œ !œ ! !œ !œ #!œ ! ! ! ! ! ! ! #!œ ! ! !œ !œ ! ! !œ
!!! !!!! ! ! !! ƒ! ! ! ! r ! ! ! ! r
? ## œ Œ Œ ‰. œ r ƒ ‰. r ‰. r
?# œ Œ Œ ‰ . Rœ œ ŒŒ ŒŒ ‰‰ .. œ r œ ‰. œ œ ‰. œ
# R œ ƒœ œ œ œ œ
f ˜:
ff ˜˜::
i
ii
V
V
V
ƒ
pœ
# # pœ ŒŒ ÓÓ 5ˆ in f ˜ 7ˆ in D
ww œ
& ## w
ˆ in f ˜
f˜
œœ
ˆ in D
ww
55ˆ in 7ˆ7 in
w w
D
& w w
p w w
p cresc. S pœœ
p wp cresc. S p
? ## w w ww œ
?# w
cresc.
# w w ww w œœ
pw w w w œ
p A: V7
A: V77
A: V
I
II
YT: bEiYmeeV6sI
Figure 22.7.4: Beethoven, Symphony No. 2 in D major, Op. 36, I.

(1801–1802)
In the next example, the note A acts as a hinge between an A major chord
( V in D minor) and an F major chord ( I in F major).
b œ.
&b c nœ œ. œ œ. œ œ. œ œ Œ Ó
47
47
p
bb c # œ . ? # œ œ . œ œ . œ œ . œ œ
Œ Ó
&
p
bb c œ Œ Ó
& . œ . œ . œ . œ
#œ œ œ #œ
pœ .
? b c
nn œœ œœ . œœ œœ . œœ œœ . œœ n œœ b œ n œ œ # œ œ # œ n œ œ # œ œ # œ
dim.
b
nœ œ œ
d: V
b
&b ∑ ∑ ∑ ∑
49
49
œ œ. œ. œ. ˙
5ˆ in d 3ˆ in F
w œ
3 in F
? bb ∑ & œ
p π
b j‰ Œ Ó
&b n œ œ # œ œ # œ œ ∑ œœœ œ œ œœœ œ
œ œ n œ œ # œ œ# œ œœ œ
π π
? b ∑ ∑ ∑ w
b w
F: I
YT: qSRRbOvpaXg
Figure 22.7.5: Schubert, Piano Trio No. 1 in B–flat major, D. 898, I. (1828)
22.7.2.1 Chromatic Mediants
In a common–tone modulation, the two chords connecting the two keys are typ-
ically in a chromatic mediant relationship. Chromatic mediants are chords
with roots a third apart that share only one common tone and have the same
quality (both are major or both are minor).
37
E C
C˜ A
b # n www n ww
A F
#### &b
36
w
785 811
&
• one common tone—A
• roots are a 3rd apart
Lead-sheet symbols: F
____ C7/B¯ ____
____ •F/A Dm C/E
both ____
chords ____ Dm/F C/G
____ ____
are major G7
____ C
____
2
812 Roman numerals: F: I V42
ChromaticI6mediant
vi relationship in Figure 22.7.5
&4
Figure 22.7.6:
C :
___ V7 ii I6 ii6 I46 I 37
E C
C˜ A
b # n www
Gm G/B Cm Cm/E¯ EAø7 B¯/F F7 B¯
n ww
F
&b
Lead-sheet symbols: ____ ____ ____ ____ ____ ____ ____ ____
w
824 811
& Any major or

g: minor
i Vtriad
Roman numerals: 6/iv will
iv have iv6 four chromatic mediants, as shown in
the example below. B¯ : ii6 vii•ø7one
___ I46
/V common V7tone—A
I
• roots are a 3rd apart
• both chords are major
787
#www 4# wwwœ ww b wwœ ww b bœww œww wwœ b ww œ b wwœ b wwœn ww œ b wwœ n wwœ b ww b ww
LSS: C E___ ___
C E¯ C
___ A¯
___ ___ ___C A Cm E¯m Cm Em
___ ___ ___ ___ ___ ___ ___ Cm Am Cm A¯m
& œw b wœ w (œw) (œw) # wœ w œb wœ w(œ)w(œ) wœ wœ œw b w

(œ)
812
& 4 ( ) ( ) ( ) ( ) ( ) ( ) (œ)
• root of second chord is a third lower or higher than starting chord
RN: G: ___ ___ chord
• second vi is ___
same___ ___ as starting
quality vi chord
• the two chords within each bar share
D:___ ___one
only ___common
___ ___tone
___ ___
HF: Ton Chromatic
Dom ____ PD mediants
/V Dom of ____
the C major
Dom Ton and
PD CCadminor
4 Dom triads
Ton 6
& ___ ___ ___ 42 ___ ___ ___

820Figure 22.7.7:
# œ œ œ nœ œ #œ œ #œ œ #œ œ #œ œ
795 LSS: ___ ___ ___ ___ ___ ___ ___
& 44
RN:Below are___
e: ___ examples
___ chromatic
N6 ___ mediants
___ ithat do not involve modulation.
In fact, the progression in the following three examples are found in the last
b:___ ___ ___ Fr+6 ___ ___ ___
bar of Figure 22.7.7, the progression from i to 2 vi (shown as Cm to A2m in
HF:
the example above).
Ton Dom Ton ___ /V Dom ____ Dom Ton ___ Cad64 Dom Ton
G˜m G ˜m G ˜m
j
Em Em Em B (no 3rd)
#˙ œœ œœ # ˙˙ œœ œœ # ˙˙ œ. # œœ # ˙˙ ˙˙
803
? 42 # ˙˙ œ n œœ # ˙ œ n œœ # ˙ n œœœ ... # œœ # ˙˙ ˙˙
p J
YT: GXmaz-mj6Q8
Figure 22.7.8: Richard Wagner, Das Rheingold, Scene 3 (1854)

• root of second chord is a third lower or higher than starting chord
• second chord is same quality as starting chord
• the two chords within each bar share only one common tone
Gm E¯m Gm E¯m Gm
? b b 44 œ˙˙ . œ œ œ œœ œ ˙
œ. œ.
n ˙˙˙
820
˙ .. b œœ n œœ b œœ
? b
822
b YT: AL2N4Bfl4Ec
Figure 22.7.9: John Williams, Star Wars: Return of the Jedi, “Main Title
(The Story Continues)” (1983)
# œ œ bœ nœ œ nœ bœ œ œ
Em Cm
& 44 Œ œ œ Œ
Trumpet
œ œ
Horn
œ œ œ œ
44
œ
# 4Choirœ œ ˙ . w œœ b œœ ˙˙ .. ww
& 4 œ œ ˙. w J
44
œœ œœ ˙˙ .. œœ œœ ˙˙ .. ww
Kor - ah, Syahd - ho,
ww
44
? # 44 J
3
∑ ∑ ∑ ∑ ∑ ∑YT: ZTg6hg1miFg∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
48
&
Figure 22.7.10: John Williams, The Phantom Menace, “Duel of the Fates”
(1999)
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
48
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
48
22.7.3 Sequential Modulation

∑ ∑ ∑ ∑ ∑ ∑ ∑
63
&
Modulation can also be accomplished by sequence. In a sequential modula-
a melody and its accompanying harmonies are repeated at a new pitch
∑ ∑ ∑ ∑ ∑ ∑ ∑
tion,
63
&
level to establish or lead to a new key. In the following example, the sequence
of the original idea occurs in the new key.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
63
? b b 43 4 œ
nœ œ bœ. œ 4 œ b˙
œ œ œ œ
nœ > bœ. >
> CHAPTER> b˙
288 > > >
22. MODULATION
same melodic pattern in A¯
3ˆ 4ˆ 2ˆ 3ˆ 1ˆ 1ˆ 7ˆ 1ˆ ˆ2 4ˆ ˆ3 3ˆ 4ˆ 2ˆ 3ˆ 1ˆ 1ˆ 7ˆ 1ˆ 2ˆ 4ˆ 3ˆ
b
& b b b 43 œœ œœ œ Œ œœ œ œœ n œœ œœ œœ œ œ œœ œœ œ Œ œœ œ œœ œœ œœ œœ œ˙ œ
. œ œ ˙ . œ œ
p
? b b b 43 Œ Œ Œ œ Œ Œ œœ œœ œœ n œœ ˙˙ Œ Œ Œ œ Œ Œ œœ œœ œœ œœ ˙˙
b œ
f: i iiø42 i V43 i V6 i A¯: I ii42 I V43 I V6 I
same Roman numeral pattern in A¯
b
& b bb YT: M9SzCHQCNGY
? bb b
b
Figure 22.7.11: Beethoven, Piano Sonata Op. 2, No. 1, III. (1795)
In the following example, an idea in C major is repeated up a step in D

major, then up another step in E minor before reaching an F4 ◦ chord, a chord
with dominant function in G major.
3
3
same melodic pattern in D major
. œœ œ œ œ. œ.. œ## œœ œœ.. œ.. ## œœ œ œ.. # œ. œ œ œœ.. œœ.. ## œœ œ œ.. œ.. œœ œœ œœ.. œœ..
same melodic pattern in D major
2 œ œ .
œ . œ œ œ
.
14
14
14 Oboe
Oboe
& 424 œ œ. œœ. œ œ œ œ œ. œ œ œ œ œ # œ. œ œ
&
œ œ œœœ
2
& 424 ˙˙ ‰‰ œœJ
14
14
œœ œœ œœ œœ ## œœ œ #œ
14
Violin I
Violin I & œœ œ # œ ## œœ œœ J
2 ‰ j
j
14
14
& 2
4
& 4 œœ œœ œœ œ œœ ‰ œ œ ˙˙ œœ ## œœ œœ œ # œ
œ #œ
14 Violin II
œ
Violin II
establishes F˜, destabilizes C major

establishes F˜, destabilizes C major
. . .
same melodic pattern in E minor
œœ ## œœ œ.. œ.. œ œœ œœ.. œœ.. œœ ## œœ œ.. œœ.. œœ œœ œœ. œœ.. œœ œœ œœ. œœ. œœ œœ ## œœ.. œ.. œ œ œ.. œ.. œ.. œ. .
same melodic pattern in E minor
œœœ œ œ œ œ œ œ œ œ. œœ. œ..

18
18
& œ
18
18
18
&
œ
18
& ˙˙
& œœ œœ ## œœ œœ œœ ## œœ .. œœ œœ ## œœ œœ œœ œ
& œ œœ œœ # œ ‰‰ œJœJ ˙˙ œœ œ œ # œ
18
18
& œœ
18
œ #œ œ œ #œ
E minor, affirms F˜ and movement G: viioo V77
E minor, affirms F˜ and movement G: viio V7
away from C major dominant function in G major
away from C major dominant function in G major
. . .
œ .
œ
. . œœ.. œœ
œ
. Ÿ
. œ
œ œœ œœ.. œœ.. œœ œœ œœ. ## œœ. œ œ œœ œœŸ œœ
22
22
& œ
22
&
j ŸŸ
22
22
& œœ ŒŒ ŒŒ j
‰‰ œœ œœ
22
& ## œœ œœ
22
22
ff
& œœ ŒŒ ŒŒ ‰‰ jj œ # œ œ œ œ œ
22
&
arrival on G as tonic
arrival on G as tonic
œœ œ # œ œ œ œ ffœ
YT: jD9_dShQbN8
Figure 22.7.12: Mozart, Oboe Concerto in C major, K. 314, III. (1777)
In the next example, after a cadence in G minor, an idea in F minor is

repeated down a whole step in E2 minor to achieve the change of key to E2
major, which is the starting key of this aria, as can be seen in the key signature.
36
36
b œ .
& bb bbb cc œ ˙˙ . #œ œ Œ bb ˙˙
Œ
œ Œ œ Œ
œ Œ œ Œ
& #miœ œ
351
351
cor va, pal - - - - - pi -
b
& bb bbb cc ‰‰ œ œœ œ ‰‰ # œ nn œ œ œ œœœ œœ œœ
Œ
cor mi va, pal - - - - - pi -
351
& œ œ œ n # œ œœ œ œ œ œœ œœ
Œ œ œ œ
œœ œœ œœ
351
œ œ n œ œ œ œ œ œ
? bb c œ Œ œ œ œ bb œœ œ œ bœ œ œ
œ œ b œ œ œ n wœ
? b bb c œ Œ œ ŒŒ œœ n wœ Œ Ó
b Œ Ó
g: i64 V
Œ i
Ó Œ Ó
g: i64 V i f: iio V7
f: iio V7
same pattern down a whole step
b
same pattern down a whole step
U
& bb bbb ÓÓ b˙ œ Œ œ
U
354
& b˙ œ Œ œ
354
œœ U
- - - - - tan - - - - - - - do!
œœ
b œœ U
- - - - - tan - - - - - - - do!
& bb bbb ŒŒ œœ œœ œœ Œ œœ
354
œœ œœ œœ Œ
354
&
U
U
œ
? b b œ œœ bb œœ œœ œœ bb œœ œ bœ œœ Œ œ
? b bb œ Œ Ó œ bœ œœ Œ
b Œ Ó
f: i
f: i e¯: iio V7 V56
e¯: iio V7 V56
YT: VEmnmVXEqqM
Figure 22.7.13: Mozart, Don Giovanni, K. 527, “Mi tradi quell’alma ingrata”
(1787)
While this is by no means an exhaustive list of modulatory techniques, it

should give you a sense of some of the different means composers use to change
keys.

Day One
1. For each given key, list the five closely–related keys.

(a) d:
####
36
785
&# #
(b) D2:
36
& ##
785
(c) f:
2. For each progression, analyze the Roman numerals with lead–sheet
symbols andsymbols:
Lead-sheet specify theFsecond
____ ____ key.
C7/B¯ F/A ____
____ Dm C/E
____ Dm/F G7 ____
C/G ____
____ ____ C 35
Lead-sheet symbols: ____
Roman numerals: F: I____ V____
4
2
____
I6 ____
vi ____ ____ ____ ____
Roman numerals: F: I V42 Home

I6 key
C : ii
vi
___ I6 ii6 I46 V7 I
___ : ii I6 ii6 I46 V7 I
A
D one degree one degree E____
# ### ####
Lead-sheet symbols: ____ ____ ____ ____ ____ ____ ____
& #
Roman numerals: g: i V6/iv iv iv6
___ : ii6 viiø7/V I46 V7 I
b f˜ c˜
# ###### #
787
Em Fõ
&&
787
G major: G Am Bm C D
D major: D Em F˜m G A Bm Cõ

# ### ## #
&& #
789
789
# ### ## R. N.: I ii iii IV V vi viio

&& # #
809
809
Bm Cõ D Em F˜m
#
817 # # #
D major: G A
& # # #Two
#
817
R. N.: IV V vi viio I ii iii

&
Day
3. Borrowed Chord Modulation. List the closely related keys to the
starting major key, then specify the parallel minor key and its closely
####
825
E¯related keys.
& ## B
& # # F˜
825
D¯ c˜
D
to parallel
minor
778
####
&
Gm E¯m Gm E¯m Gm
? b b 44 œ˙˙ . œ œ œ œ œ ˙
œ. œ.
n œœœ b22. n ˙˙˙
820
292 ˙ .. b œœ CHAPTER œœ MODULATION

4. For each progression, analyze the Roman numerals with lead–sheet
symbols and specify the second key.
Lead-sheet symbols: ____ ____ ____ ____ ____ ____ ____ ____ ____
Roman numerals: A: I ¯III I V24/IV
___ : V42 i6 Ger+6 i64 V7 VI
Roman numerals: g: i i6 N6
___ : I6 ii6 viio7/V I64 viio7/vi vi
? bb
822
Day Three
Lead-sheet symbols: Gm
____ Gm/B¯
____ A¯/C
____ B¯m/D¯ Do7 A¯/E¯
____ ____ Eo7 ____
____ ____ Fm
A¯ : I6
___ ii6 viio7/V I64 viio7/vi vi
5. Determining Diatonic Common Chords. For each of the two keys in
each example, list the diatonic chords as lead–sheet symbols and as
Roman numerals then circle those diatonic to both keys
Roman numerals: d: ___ ___ ___ ___ ___ ___ ___
Lead-sheet symbols in Dm: ___ ___ ___ ___ ___ ___ ___
Lead-sheet symbols in F: ___ ___ ___ ___ ___ ___ ___
Roman numerals: F: ___ ___ ___ ___ ___ ___ ___
B¯ :
___ ii6 viiø7/V I46 V7 I
787
˙ Flowchart, ˙ ˙ ˙ symbols,
LSS: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
w
# 4 ˙to ˙the Harmonic ˙ w ˙fill ˙in lead–sheet ˙ w Ro-
˙ ˙ ( ˙) ˙
& 4 ( ˙) (w) ( ) (w) ( ˙ ) ( ˙) ( ) ( ˙ ) ( ˙)
Referring
w
6.
( )
man numerals, and Harmonic Functions for the following example—be ( )
sure to put some of the chords in first inversion for variety; create a
RN: G:by
melody ___adding
___ viembellishments
___ ___ ___(non–chord
vi tones) and try to create
repeating motives and/or subphrases;D:___
LSS___stands for lead–sheet
___ ___ ___ ___ ___sym-
bols,
HF: RN stands for
Ton Dom ____ Roman
PD numerals,
/V Dom and HF stands
____ Dom Ton PD Cad for
4
Harmonic
6 Dom Ton
Function
# ˙ ˙ w n˙ ˙ ˙ #˙
795 LSS: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
& 44 #w ˙ #˙ ˙ #˙ w
RN: e: ___ ___ ___ N6 ___ ___ i
b:___ ___ ___ Fr+6 ___ ___ ___
HF: Ton Dom Ton ___ __/ V Dom ____ Dom Ton ___ Cad64 Dom Ton
G˜m G ˜m G ˜m
j
Em Em Em B (no 3rd)
œ œ œ. # œœ # ˙˙ ˙˙
# # ˙˙˙ œœœ n œœœ # # ˙˙˙ œœœ n œœœ # # ˙˙˙
803
? 42 n œœœ ... # œœ # ˙˙ ˙˙
p J
Em Dõ/F˜ Em/G F/A Aõ7 B Em F˜7 Bm/D G7(¯5) Bm/F˜ F˜ Bm
i viio6 i6 viio7/V V
iv V7 i6 i6 V i
PD PD PD PD 4
Day Four
7. List the four chromatic mediants for each chord.
(a) Fm:
(b) D2:
(c) G:
(d) G4m:
Day Five
8. Analyze lead–sheet symbols, motives (with numbers, noting melodic

96 alteration when it occurs), non–chord tones, Roman numerals, and
96 harmonic function. by G.K.B.
LSS: ___ ___ ___ ___ by G.K.B.
LSS: ___ ___ ___ ___
œœ
Motives:
3 œ
& bb 43 œœ œœ œ œ œ œœ ˙ œ œ œœ œœ œ œœ œœ œœ œ œ
Motives:
& 4 œ œ ˙ œœ œ
œ œ
? 3 Œ œ œœœœ œœœœ œ œœœ œœœ œ œœœœ œœœœ œ œœœœ œœœœ
? b 43 Œ œ œ œ œ
b 4
RN: ___ ___ ___ ___
RN: ___ ___ ___ ___
HF: ___ ___ ___ ___
HF: ___ ___ ___ ___
LSS: ___ ___ ___ ___ ___ ___
œ œ œœ œ œ œ ˙
LSS: ___ ___ ___ ___ ___ ___
œ œ œ nœ ˙
Motives:
& bb œ œ œ œ œ œ œ ˙ œ nœ ˙
Motives:
&
œœ œœ œœ
œœ œœ nœ œ œœ
?b œ
?b œ œœ œœ œ n œœœœœ œœœœœ œ œ œœ
œ œ
œœ œ
œ œ œ œ
RN: ___ ___ ___ ___ ___ ___
RN: ___ ___ ___ ___ ___ ___
HF: ___ ___ ___ ___ ___ ___
HF: ___ ___ ___ ___ ___ ___
Compose an eight–measure example using the motivic structure and
97
harmonic function in the example above. Create a new melody with 97
new motives but the same sequence of motives. You may use a differ-
&b b signature, mode, and accompanimental texture.

ent time
&
LSS: ___ ___ ___ ___
LSS: ___ ___ ___ ___
Motives:
& bb
Motives:
?
&
? bb
?b
?
b
RN: ___ ___ ___ ___
RN: ___ ___ ___ ___
HF: ___ ___ ___ ___
HF: ___ ___ ___ ___
LSS: ___ ___ ___ ___ ___ ___
LSS: ___ ___ ___ ___ ___ ___
Motives:
& bb
Motives:
&
?b
? b
RN: ___ ___ ___ ___ ___ ___
RN: ___ ___ ___ ___ ___ ___
HF: ___ ___ ___ ___ ___ ___
HF: ___ ___ ___ ___ ___ ___
& bb
&
?
?
Click here to download the second homework assignment for this chapter.
Click here to download the third homework assignment for this chapter.
Click here to download the fourth homework assignment for this chapter.
Click here to download the fifth homework assignment for this chapter.
Chapter 23
Enharmonic Modulation
23.1 Enharmonic Modulation

In an enharmonic modulation, the pivot chord is almost always misspelled
in one of the keys and therefore must be reconceptualized enharmonically by
the analyst. In this regard, an enharmonic modulation is a harmonic pun.
Here is a pun from Shakespeare’s Richard III, Act 1, Scene 1:
Now is the winter of our discontent

Made glorious summer by this sun of York
The “sun” of York is the son of York, King Edward IV. 107
Here is a simple enharmonic modulation:
G7 Bm/F˜ F ˜7
3 œ
C Dm/F Bm
œœ
& 4 œœ œ œœ œ # œœ
œ (# œœ) œ
#œ œ
# œœ œœ
? 43 œ œ œ (œ) #œ œ œ
C: I ii6 V7
b: Ger+6 i46 V7 i
Figure 23.1.1: Enharmonic Modulation from C major to B minor
&
Like a verbal pun, this harmonic pun is effective because the third chord
( G7 ) has two “meanings”—in the context of C major, G7 is V7 and the root
?
wants to cadence down a fifth to C, but the G7 is a Ger+6 in the context of
B minor, where the root of the G7 wants to progress down a half step to a
chord of dominant function, i64 in the example above.
297
#
298
872 CHAPTER 23. ENHARMONIC MODULATION
www
& w ww
w
P5↓
C: V7 I
enharmonic resolves to
# www # ww
respelling
874
& w m2↓ #
# # ww 41
b: Ger+6 V
b
resolves to
& b note: B¯ becomes A˜

b www
876 Figure 23.1.2
respell top
& # www
Notice that the G7
canwonly be spelled correctlywin one of the keys—either
as a dominant seventh chord on G (G–B–D–F) or as a Ger+6 on G (G–B–D–E4),
? ###
C: V7modulation.” The b:
hence the term “enharmonic analyst
+6
Germust envision the other
w b b b wwww
spelling (the one not shown) to understand the double context, in the same
# # # www
bottom
way “sun of York” must be three as
envisioned notes
“sonrespelled
of York.”
&
878
We will encounter two sonorities used in enharmonic modulations: the
dominant seventh sonority and the diminished seventh sonority.
872
23.2 The V7 andw

b: V7 B¯: Ger+6
&wGer+6 P5↓ ww
as Pivot Chords
ww
In thisrespelled
enharmonically w
first type of enharmonic modulation, the pivot to the new key will
˙˙ ˙˙ ˙ b ˙˙˙
b ˙˙˙
consist of the V7 beingC: enharmonically reinterpreted
I as a Ger , or the Ger
˙
+6 +6
V7
& # ˙˙ #˙ ˙ ˙ ˙
being enharmonically reinterpreted as V . Secondary
7
resolves to dominants, like V IV ,
7

enharmonic
# www #w
V V , etc., will
7
also be reinterpreted harmonically as Ger+6 chords (and vice

respelling
# # # www
versa) in enharmonic modulations.
& w
874 As we saw in the previous section, the dominant seventh chord and the
a: viio7 Ger+6 i chord have viio4
c: the same
2 sound
m2↓ i
but are spelled differently. This involves a
enharmonically fairly straightforward enharmonic respelling. Most commonly, the top note of
+6
b: Gerrespelled V
respelled the chord is enharmonically to envision
to the enharmonic alternative.
b˙
enharmonically respelled resolves
b ˙˙˙ ˙ b ˙876 b ˙˙ ˙˙˙˙ top note:

b b ∫respell b ˙ Ab˜˙˙
˙ B¯ becomes b wb ˙˙
& ˙
b & b ww # w
ww ww
e¯: viio43 i G¯: viio657 I
F: V e: Ger+6
# # # wwww b b b wwww
bottomFigure 23.2.1
three notes respelled
&
878
Each chord above implies a key based on its spelling: the dominant seventh
chord occurs diatonically
b:only
V7 on the 5̂ scale degree
B¯: Gerin major,
+6 while the Ger+6
chord most commonly occurs with the lowest note on the lowered 6̂ scale degree.
Less commonly, the bottom three notes could be respelled and the upper-
most note could be retained as a common tone.
enharmonically respelled
˙˙ ˙˙˙ ˙
b ˙˙˙ ˙ b ˙˙˙
& # ˙˙ #˙ ˙ ˙
a: viio7 i c: viio42 i
& b ww # www
ww w
23.2. THE V7 AND GER+6 AS PIVOT CHORDS 299
C: V7 b: Ger+6
# # # wwww b b b wwww
bottom three notes respelled
&
878
b: V7 B¯: Ger+6
Figure 23.2.2
Remember, you will not see this respelling in the music you are analyzing.
You must be able to visualize the enharmonic respelling in order to analyze
the enharmonic modulation correctly.
The examples below illustrate some of the ways this enharmonic modulation
occurs in pieces from the literature
In the first example from Tchaikovsky’s Nutcrackerballet, a D7 is spelled

on the staff as D–F4–A–B4 so that it sounds like a V7 IV in D major but is
spelled and resolves as a Ger+6 in the key of F4 minor.
300 CHAPTER 23. ENHARMONIC MODULATION 99
99
Cõ7/D
D C o7 7
/D ped. D D
>
D ped. D D7
# 3 - r
& # 4 œœ œ œ ˙ Œ
œ œ œ #œ
b œœ-œ œœ ...... œœ j˙ œœ
- - > >œ œj
œ - p
œœ bœ œ Œ # œœœ œœœ
? # # 43 œœ œœ œœœ œ œ œ œœ œœœ
œ ˙.
œ œ œ
(D-F˜˜-A-C)
D: o7 ped. 7
D: II vii
viio7/I
/I ped. II V
V7/IV
/IV (D-F -A-C)
ff ˜:: Ger
Ger+6 (D-F˜˜-A-B
+6 (D-F -A-B˜˜))
F˜m/C
m/C˜ C˜7/B F˜m/A C˜7/G
F C 7 F C 7 ˜
# j
/B m/A /G
œ
& # œ œ # œ œ œ ‰ Œ ‹ œ # œ œ œ œ œ # œ œJ ‰ Œ #œ œ #œ #œ
F
? # # Œ˙ . œœœ œœœ Œ˙ # œœœ œœœ Œ œœœ œœœ Œ # n œœœ œœœ
. ˙. #œ œ
˙.
ff ˜:: ii664 V 4
V422 ii66 V 4
V433
4
F ˜m F ˜m F˜m/C
m/C˜ C˜7 F ˜m
F F 7 7 7
m7/E D F C F
## œ # œ œ # œ œ œ œ # œ # œ œ œ œ œ œ œ œ œ #œ œ
m /E D7 m
& J
Œ œ œœ Œ # œœ Œ œœ n œœ j
? # # ˙ œœ n œ œœ ˙ œ ˙. œ #œ œœ
˙ nœ œ ˙ œœ
˙.
ff ˜:: ii ii442 Ger +6
Ger+6 ii664 V
V7
7 ii
2 4
YT: Kw0wLLVEMaA
Figure 23.2.3: Tchaikovsky, The Nutcracker“Waltz of the Flowers” (1892)
In the following example from the second movement of Beethoven’s Fifth

Symphony, the same pivot chords are used as in the example above— V7 IV

in A2 major is enharmonically respelled and resolves as a Ger+6 in C major.

102
102 23.2. THE V7 AND GER+6 AS PIVOT CHORDS 301
A¯¯
A A o7
Ao7
bb 3 . œ œ œœ œœ . œ b œœœ œœ œœ œœ . œ
&bb 8 œœ . œ œ J J
πœ nœ
? b b b 38 œ œ œ œ œ œ œ œ œ œ œ J ‰
b
33 33 33 33 33 33
A¯¯:: II
A vii o7
viio7/ii
/ii
n œœœ ... œœ.

A¯¯7
œ . œ # œœœ .. œœ. n n œœ.
A 7 C/G G 7 C
C/G G7 C
œ
b œœ œ . œ # œ .. œ. nœ œ n œœ n œœ ‰
& bbbb œ J
nœ ƒ
bœ. œ
? bb b ‰ n œœœ œœœ œœ n œœœ œ
b bœ. œ. œ. œ.
œ
V 7
V7/IV
/IV
C: Ger+6
C: Ger +6 II664 V
V7
7 II
4
YT: DdL2e4pE-uA
Figure 23.2.4: Beethoven, Symphony No. 5, Op. 67, II (1808)
In the following example from Les Miserables, a Ger+6 in E minor is spelled

as a V7 chord in F major and resolves to the I chord F major.
# ≈ œr œ œ œ œ
E¯ Em B
& # c ˙.
E¯ Em B
œ œ. œ œ
356
356
bœ
#
And
And al -- though II know
know that
that he is blind Still
Still II
& # c b œœ
al though he is blind
œ œœ œœ œœ # œœœ œœ œœ œœ
bœ n n œœ œ œ œ œ œ œ
356
356
? ## c b œ nw w
bœ nw w
e:
e: ii V
V
##
Am7 C7 F
Œ b œ
Am7 C7 F
& ˙. œ œ œ œ œ
nœ nœ
359
359
##
say there's
there's aa way
way for us II love him
Ó b œ
359
359 say for us love him
&
n œœœ
œœœ œœœ œœœ ˙
b ˙˙ œœ
? ##
˙ ˙ n˙ Ó b œœ
˙ ˙ n˙
e: 7 +6
e: iv
iv7 Ger
Ger+6
F: 7
F: V
V7 II
YT: VjfmP7h3gBw
Figure 23.2.5: Music by Claude–Michel Schönberg, lyrics by Alain Boublil,

Herbert Kretzmer, John Caird, Trevor Nunn, and Jean-Marc Natel, Les Mis-
erables, “On My Own” (1980)
In the next section we will examine how the fully diminished seventh chord
can be enharmonically reinterpreted.
& b www # www
w w
7 PIVOT CHORD
C: VAS
23.3. THE FULLY DIMINISHED SEVENTH b: Ger+6 303
w b b b wwww Chord
& # # # www
bottom three notes respelled
23.3 The Fully
878
Diminished Seventh as Pivot
Each diminished seventh sonority implies four different keys.B¯:Play
b: V7
and sing
Ger+6
through the example below.
˙ ˙˙ ˙ b ˙˙˙
& # ˙˙˙ b ˙˙˙ ˙
880
#˙ ˙ ˙ ˙
a: viio7 i c: viio42 i
enharmonically
respelled
b ˙ b b ˙˙˙
˙ b˙ ˙
& b b ˙˙˙ ˙ b b ∫ ˙˙˙˙ ˙ b b b ˙˙˙
884
e¯: viio43 i G¯: viio65 I
Figure 23.3.1: The Four Resolutions of a Diminished Seventh Sonority
In the example above, each note of the vii◦ 7 chord was treated in turn as
the 7̂ scale degree and resolved up by half step. In the example below, each
note of the chord is resolved as if it were the 7th of the chord, moving down
by half step to the root of a dominant seventh chord.
42
˙ ˙ ˙ ˙˙
˙ ˙
& # ˙˙˙ # ˙˙˙ b ˙˙˙
888
b˙ ˙ ˙˙
a: viio7 V65 c: viio42 V7
enharmonically
respelled enharmonically respelled
˙˙ ˙ b b ∫ ˙˙˙˙ ∫˙ b ˙ b b ˙˙˙˙
& b b ˙˙ b˙ b ˙ b ˙˙˙
892
e¯: viio43 V42 G¯: viio65 V43
896
23.3.2: Resolutions of a Diminished Seventh Sonority to a Dominant
&
Figure
Seventh Sonority
This means that for any diminished seventh chord, you should be able to
imagine the other three respellings in the same way you can imagine other
spellings of words like two (i.e., to and too) or there (their and they’re).
In the following examples, a vii◦ 7 chord is enharmonically reinterpreted in
a new key.
4 .
In the first example, Beethoven enharmonically reinterprets F ◦7 C in G
4 .
minor ( vii◦ 43 ) as vii◦ 42 in E minor ( D ◦7 C ), which resolves to a V7 chord in
E minor.
C: I ii V
C: I ii6 V7+6
b: Ger i46 V7 i
b: Ger +6 6
i4 V 7 i
Gm Gm/B¯ D/A Gm Cõ7 D Fõ7/E¯ D Fõ7/C Gm/B¯
b Gm Gm/B¯ D/A Gm Cõ7 D j Fõ7/E¯

œœœ .. œœœ œœœ .. œœœ œœœ
D F˜ /C
œœœ
& b bb c œœ œœ .. œœ # n œœœ ... œœœ n œœœ œœ j ‰ # n œœœœ
o7 Gm/B¯
& b b c œœœ œœ .. œ # n œœ .. œ n œœœ œœ ‰ n œœ œœœ ... œœœ œœ .. œœ œœ œœœ

œœœ .. œ œ . œ #Í . .
Íœœ . œ Íœ œ. œ œ. œ œ.
? bb c Í œ nœ. œ #œ Jœ ≈ . œ œ œ. œ œ. œ œ. ≈. œ
? b bb c œ œ. œ nœ. œ #œ J ≈ . RÔœ ≈ . RÔœ
b œ œ. RÔ RÔ
g: i i6 V64 i viio7/V V viio42 V viio43 i6
g: i i6 V64 i viio7/V V viio42 V viio43 i6
Fõ7/E¯ D Dõ7/C Em/B B7 Em/B B7(¯9) B7
b F˜
œœœ œœœ .. # œœœ œœœ n n œœ
D D˜
# n œœœœ œœœ ..
o7/E¯ B7(¯9) B7
& b bb
o7/C Em/B B7 Em/B
œœœ ... œœœ œœ .. # œœ œœ n n œœ # # n œœœ n n n œœœ œœœ œ

&bb #Ín œœ . . p nœ # # n œœœcresc.
n n n œœ nn œœœœ # œœœ
Íœ œ. œ œ . œ pœ n œ œ œ cresc. #œ
π
? b œ œ. œ œ . œ Jœ n œ Jœ Jœ n œ œ π
? bb bb J J J nœ œ nœ
j
b œj
g: viio42 V viio43 nœ œ
g: viio42 V viio423
e: V7 i46 V7 i46 V7(¯9) V7
e: viio42 V7 i46 V7 i46 V7(¯9) V7
YT: mlxF5I1MfbM
Figure 23.3.3: Beethoven, Pathétique Sonata, Op. 13, I (1798)
In the next example from the second movement of Beethoven’s Fifth Sym-
phony, Beethoven modulates from C major to A2 major by enharmonically . 2
reinterpreting an E◦ 7 chord in C ( vii◦ 7 IV ) as vii◦ 42 in A2 ( G◦ 7 F ). Notice

the unusual resolution of the vii◦ 42 chord to a Ger+6 chord by leading all three
of the upper voices of the vii◦ 42 up by half step to the Ger+6 , which itself is
unusually spelled in the key of A2 major (E–A2–C2–D instead of F2–A2–C2–D).
100
100 23.3. THE FULLY DIMINISHED SEVENTH AS PIVOT CHORD 305

Eo7
n œœC^
C
b œœ ..n œœ n œœ .. œœ b œœœ Eœœo7. œ œœœ œœ . œ œœœ ..

& b b b 38 œ^ n œ . œœ œ. œ b œœ . œ .
b n œœ œœ ..n œ œ
n œ .. œœ J b œœœ œœJ . œ œœœ œœJ . œ œœœ ..
& b b b 38 Sœ œ n œ œ. œ Sœ . œπ b œœ . œ
r œ œnœ
n J J J œj. œ
? b b b 38
b Sœ œ n œ œ. œ Sœj ‰ ‰ π∑ ‰ ‰ nœ.
j
œ r œ œnœ œ . œ œj p‰ n œ ‰ n œ n œœ . œ
? b b b 38 œ œ. œ œ ‰‰ ∑
b C: n vii
œ o7/IV (E-G-B
n œ ¯-D¯)
œI œ. œ œ p
A¯: vii (G-B¯-D¯-F¯)
o4
C: I viio72/IV (E-G-B¯-D¯)
A¯: viio42 (G-B¯-D¯-F¯)
E7 A¯m/E¯ Do7 Go7/D¯ A¯/C D¯ E¯ A¯
b E7. Ab¯m/E œ . ¯ Dœo7. .. ¯ Aœ¯./C

E¯œ7/D œD.¯ œE. ¯‰ ‰ œ ? œœAœ¯ œœ œ œ œ œ œ œ
& b b b b n œœœ .. œœ .. œœ .. œ œ. œ. œ
b b b b n œpœœ. . b œœœ .. œœœ .. œ. œ. œ. Jœ. œ ?Jœœ œ œœ œ œ œ‰œ œ œ
& b . . . œ. œ. œ. ‰ ‰
bœ. œ. œ. fœJ œ. f pJdolce ‰
bœ. œ. œ.
? b b b œp. b œ . n œ . bbœœ.. œœ.. œ. fjœ. œ. ‰f ‰ œpj dolce
b . . . œ. œ ‰ œœ
? b b b œœ . b œœ . n œœ . bœ. œ. œ.
œ. œ.
j ‰ ‰ œ.œj œœ ‰ œ
bb
Vœ. œ
A¯: Ger +6 i 4 vii /V viio43
6 o7 I6 IV I
œ. œ
A¯: Ger+6 i64 viio7/V V42 I6 IV V I
YT: DdL2e4pE-uA
? bb
Figure 23.3.4: Beethoven, Symphony No. 5, Op. 67, II (1808)
bb
? bb
bb
4
In the final example of this section, Schubert reinterprets a G ◦7 in G
4 4
minor as an E ◦7 chord in B minor ( vii◦ 65 V ). The G ◦7 chord in G minor

is analyzed as vii 2 iv , meaning it could resolve to a C minor chord, but it

◦4

could also have been interpreted as vii◦ 43 VI , or as tonicizing an E2 major

chord. Because the chord never resolves in G minor, one cannot be certain of
the intended resolution. Remember that diminished triads are not tonicized,
4
so the G ◦7 would not be considered as tonicizing the note A (the root of the
ii◦ chord) or F4 (the root of the vii◦ chord).
38
38
B¯+/F˜˜ G˜õ7
b bb j j jj j r j
4343 œœ œœ ŒŒ
Gm B¯+/F Gm o7
ŒŒ ŒŒ ‰‰ œœj œœ .. œœj œœj œœj ## œœj.. œœr œœ ‰‰ œœj

Gm Gm G
362
362 &
&b
tra - gen, Ich tra - ge Un - er - träg - li - ches, und
bbbb
tra - gen, Ich tra - ge Un - er - träg - li - ches, und
& 4343
362
&
362
˙˙ .. ˙˙ .. œ œ œ œ ˙
## œœœ œ œœœ œ œœœ œ œœœ œ ˙˙˙ ˙
˙
˙˙˙ ... ˙ .. n˙. ˙˙ ..
˙. nn n ˙˙ ..
? r
? bbbb 4343 œœ œœ ‰‰ .. œœr ‰ jj ‰ j
cresc.
‰ œœ ‰ œœj
cresc.
## œœ œ œœ
œ œœ .. œœ œœ œœ ## œœ .. œœ
œœ œœ œœ ## œœ œœ œœ œœ .. œœ œœ œœ ## œœ .. œœ œœ œœ
g: 6 o4/iv
g: ii III+
III+464 ii viio4
vii 2/iv
2
b: vii o6/V
o6
b: vii 55/V
F˜˜sus F˜˜
bb jj rrn œ ## œœ ## œœ ##˙˙..
sus44 F Bm
œœ œœ
F Bm
& b
& ## œœ .. ## œœ n JœJ RR
b JJ JJ nnœœ ŒŒ ŒŒ
366
366 RR
bre
bre -- chen
chen will
will mir
mir das
das Herz im Lei
Lei -- -- -- -- -- -- be.
bb
Herz im be.
b
b ∑∑ ∑∑
366
&
366
& n˙ ˙˙ œ œ œ œ
n ˙˙ ## œœœ œ œœœ œ œœœ œ œœœ œ ƒƒ ZZ
? b # n ˙˙ ##˙˙ # œœ œœ œœ œœ œœ œœ œœ œœ # ˙˙ .. n ˙ .
b # œ . # œ n œ # œ œ ## œœ #˙. n˙.
#œ. #œ nœ #œ œ # ˙. n˙.
b: Vsus44 V
b: Vsus V ii
b
&b ∑ ∑ ∑
369
369
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b
&b ∑
369
∑ ∑
369
Figure 23.3.5: Schubert, Schwanegesang, D. 957, “Der Atlas” (1828)

? bb ∑ ∑ ∑
Day One
1. Notate the specified chord, resolve it, then notate and resolve the
enharmonic respelling(s).
b
&b
g: Ger+6 _____
b
resolve
&b
respell
__ : ____ _____
resolve
826
42
#
˙& ˙ ˙ ˙˙˙
˙ ˙
& # ˙˙˙ # ˙˙˙ b ˙˙˙
888
b˙ ˙ ˙
G: V7/IV _____
# respell
resolve
a: viio7 c: viiV65 o4 V7
&respelled enharmonically respelled

2
828 enharmonically
& b b ˙˙˙˙ b ˙ __b:˙____

b ˙
˙˙˙ ˙˙ ∫ ˙
∫_____
resolveb b ˙˙ b ˙ b b ˙˙˙˙
892
2. For the following Roman numeral progressions, label the chords with
lead–sheet symbols, specify the new key, and notate all of the chordsV4
b
& b bb
830 e¯: viio43 V42 G¯: viio65
in the appropriate inversion on the staff below. The enharmonic pivot 3
chord can be spelled correctly in only one of the two keys.
832
f: V7/VI _____
bbbb
¯VI
7
Roman numerals: E¯: respell
I IV Vresolve
/V
& ___: Ger+6 i64 V42 viio7/iv iv V
b
896
&bb __ : ____
resolve
_____
##
834
& b b&
b
897
D: Ger+6 _____
##
836 resolve
respell
&
__ : ____ _____
resolve
838
##
&
3. Analyze with lead–sheet symbols and Roman numerals and label the
104
enharmonic pivot chords in the examples below.
____ ____ ____ ____ ____ ____ ____
b
& b 44 œœœ # œœœ œœ œœ b œœ œ
b œœ
˙˙
œ #œ œ ˙
? b 4 œ œ œ œ
b 4 œ œ b˙
g: ____ ____ ____ ____ ____ ____ ____
# ## 4 œ # œœœ œœ œ
____ ____ ____ ____ ____ ____ ____
œ
˙˙ 39 # œœ #œ
Day Two & # 4 œœ œœ ‹ œœ
˙ œ
4. Notate the specified chord, resolve it, then notate and resolve the
? # # 4 respelling(s).
œ ## 4 œ œ ˙
œ #œ œ
enharmonic
b
838
& b b____
E: ____ ____ ____ ____ ____ ____
#
____ ____ ____ ____ ____ ____ ____
840& # 4 n˙
n œœœ
E¯: viio7 _____
4 œ œœ resolven œœ
œœ
bbb œœœrespell# œœœ œ ˙˙
&
? # # 44 œ
œ œ : ____ œ n˙
__ nœ œ _____
bb ____
resolve
b
842
&
b: ____ respell
____ ____ ____ ____ ____
##
& __ : ____ _____
bbb
844 resolve
respell
? ##
&
__ : ____ _____
resolve
5. Analyze with lead–sheet symbols and Roman numerals and label the
###
846enharmonic pivot chords in the examples below. 105
& b 43 œœ&œœ œœ
___ ___ ___ ___ ___ ___ ___ ___ ___
b œœ b œœ b b œœœ b b ˙˙˙ b œœœ b b b ˙˙˙ ...

œ œ œ œ œ o7
f ˜: vii _____
? b 43 œ # œ# #œ
resolve
# bœ œ bœ
848 respell
˙ œ
& b˙.
d: ___ ___ ___ ___ ___
__ : _______ ___ ___
_____ ___
##
resolve
### 4
œœ #n œœ
850 ____ ____ ____ ____ ____ ____ ____
n ˙˙
n b œœœ
respell
& 4& œœ œœœ b n n œœœ ˙
œ œ œ
Click here to download the first__ : ____ resolve _____
? # # 4
homework assignment for this chapter.
œ
# 4 œ the Unit ### œ b
œ 6 Practice Test.œ œ
Click here to
852 download the second
respell homework assignment forn this
˙ chapter.
&
Click here to download
A: ____ ____ ____ ____ ____ ____ ____
__ : ____ _____
b
____ ____ ____ ____ ____ ____ ____
& b b b b 44 œœœ
resolve
n œœœ œœ # œœœ œ # n œœœ
œ n n œœ ˙˙
˙
? b b b 44 œ œ œ œ nœ œ
bb n˙
Chapter 24
Binary and Ternary Forms
24.1 Binary and Ternary Form

In this chapter we will compare the following:
Sectional versus Continuous
Binary versus Ternary
Rounded Binary versus Ternary
39
24.2 Sectional versus Continuous 39
We apply the descriptor “sectional” to a binary or ternary form when the first
section (the A section) ends on the tonic. (Note: We use lowercase letters to
refer to phrases and uppercase letters to refer to sections.)
Introduction First Section
b 3 Œ Œ œjj œjj œ . œjj œ
Introduction
& b bb 43 ‰ ∑ œ Œ œœ
Zart bewegt Phrase 1
First Section
œ. œ œ
369
&bb 4 ‰ ∑ Œ Œœ œ œ Œ œœ
Zart bewegt Phrase 1
369
3 œjj j Gu - tenj Aj - bend, gut j j mit j

Gu - ten A - bend, gut Nacht, mit
b
& b bb 43 œ œœ œ œœ ‰ œœ j œœ œ œœ ‰ œœ j œœ jœ œœ j œœ jœ œœ j
Nacht,
œœ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œ œœ œœ œœ œ œœ
369
&bb 4 pœœ œ œ œ œ œ œ
369
? b 3p œ œ œ œ
? bb bb 43 ‰ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ
b 4 ‰ œ œ œ œ
b œ œ. œ œ œ œœ
Phrase 2
& b bb œ œ. Jœ œ œ œœ
Phrase 2
œ œ œœ œ Œ œ œ
&bb J œ œ beœ œ- œ Œ schlupf
œ œ
œ
374
jœ œœ œœ œœ œ œ mit j j - lein be œ-
Ro - sen be - dacht, mit Näg - lein steckt
b œœ j œœœ œœ
& b bb Jœœ œœ œœ œœ j œœ j œœ œ œ œœ œœJœ
374
œœ Jœœ œœ
Ro - sen be - dacht, Näg steckt schlupf
&bb œœ J J œ œœ œœ œœ œœ Jœœ Jœœ œœ

œœ œJ
œ J J
374
? bb œ œ œ œ œ œ œ
374
? b bb œ œ œ
b œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
Second309
Section
b œŒ j j 3˙ œ j j j
& b bb œœ œœ œ œœ
Phrase
Second3Section
œ
œ Œ œ j œ j ˙ Jœ œœj ˙˙ œ j œ j œœ œœ œ
Phrase
& b b un - terœ die

378
378
œ - genœ früh, wenn
Deck: mor
œ dueœ wie - der ge -
J Gott will, wirst
œ J J œ J
? b œ œ œ œ
310 b b œ œ œ œ
œ œ œ
CHAPTER 24. BINARY AND TERNARY FORMS
œ
Second Section
b
& b b œœ œ œ
œŒ j j ˙ œ œj ˙ j
Phrase 3
378
œ œ J œ œj œ œ œ
un - ter die Deck: mor - gen früh, wenn Gott will, wirst due wie - der ge -
b œ œœ œ œ œ. j
& b b œœJ œœ œœ œJ œJ œ œœ b œœ œœ œ œ . œœJ œœ œœ œœ .. œœ œœ œ œœ œ œœ
378
J œ œ œœ
? bb œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ
40 I = “Sectional”
bb j j ˙ œ œj ˙ j
œ œj œ œ œ œ œ ˙
Phrase 4
& b j ˙ ‰ ..
383
œ œ œ J
- weckt, mor - gen früh, wenn Gott will, wirst due wie - der ge - weckt.
b œ œ œ. j ˙
&bb ˙˙ ‰ b œœ œœ œ œ . œœ œœ œœ œœ .. œœ œœ œ œœ œ œœ œ ˙˙ ‰ ..
383
J J
? bb œ œ œ œ œœ ‰ .
b œ œ œ œ œ .
œ œ œ œ œ
b
&bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
388
bb
YT: 6kh51bIA2q8
& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
388
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b
bbb
24.2.1: Brahms, Fünf Lieder, Op. 49, No. 4 “Wiegenlied” (1868)
∑ ∑ ∑
Figure
396
&
b
&bb ∑ ∑ ∑
396
? bb ∑ ∑
The term “continuous” is used the first section of a binary or ternary form
∑
b
does not end on the tonic chord. While this often means the first section ends
in a new key, it can also mean the first section ends on the dominant chord in
a half cadence.
First Section
112 First 311
112 PhraseSection
24.2. SECTIONAL1 VERSUS CONTINUOUS Phrase 2
& 422 œœ
First
Andante Section
Phrase 1 ten. ten. Phrase 2
œ. œ. œ œ. œ. œ
112
& 4 œ œ œ. œ. œ. œ. œ œ œ. œ. œœ. œœ. œ œ #œ œ

Andante
Phrase 1 ten. ten. Phrase 2
œœ œ. œ. œ œœ
& 42 pœ.. œ.. œœ. œœ. œœ . . œ œ #œ œ
First Section
œ.. œ.. œœ œ.. œ.. œœ. œœ. œ.. œ.. œœ

Andante
œœ. .
112 ten. ten.
œœ #œ œ
Phrase 1
œ.. œ.. œœŒ œ.. œ.. œ. œ.

Phrase 2
? 422 pœœ. œ. œŒ. œ. œ. œ. œŒŒ. œ.

œ jœ‰ ‰
Andante ten. ten.
& œœ. œ. œŒ œœ. œ. œŒ
? 42 p
? 24 pœœœ. œ. ŒŒ. . œ Œ œ .. œœ. œ. œŒ œ. œ. œŒŒ. œ. œ Œ œj ‰ # œJœ œ‰
œj
œ Œ œ Œ œ Œ
4
?2 œ Œ œ Œ œ Œ œ œ Œ œj ‰ œJJ ‰
œ Œ œ Œ
4 œ œ Œ œ Œ œ ‰ œJ ‰
Phrase 3 œ Phrase 4
j ‰‰
Phrase 3 ten. Phrase 4
&œ œ œœ
ten.
œ œœ 3œœ
œPhrase œœœœ œ œ
œ œ œ4 œ
ten.
&œ œjj ‰ œ œœ
Phrase 3 ten. Phrase 4
œœ œ œ œ
œ œ œ œ œœ œœ œ œ
ten.
&œ œ œ ten. œ œ
ten.
œ πœ œ œ œ œ œ œ œ œ œ
Phrase
œŒj ‰ π œ œ œŒ
ten.
&
?œ πœ œ œŒŒ œ œœ œ œŒ œ œ œŒ œ
? œ œ œœ œ œŒŒ œ
? œœ œŒ
Œ πœœ Œ œ
œ Œ
Œ œ Œ
œ Œ œ œŒ
Œ œ Œ
?œ Œ œ Œ œ Œ œ Œ œ
Œ œ Œ
œ œ Section
Second œ
j‰ œœ Second
Second
Phrase 5Section
œ œ #œ œ
(contrasting material)
& œœœ œœ œj‰ œ nPhrase ≈ ≈

Phrase 5Section
œœ ≈ œœ Section œ
(contrasting material)
œœ œœœ œœ œœ œœ
& œœ œj‰ œ nSecond ≈ œ œ œ œ
œ œ
œœ œœœ œœ œ œœœ œ œœ œ œœ œ
œœ. œœ. œœ œœmaterial)
& œ œ œœ œ œ ## œœ œœ œœ œ ≈ œœ5œ(contrasting
5 (contrasting material)
œj œœ npPhrase
œ ≈ œ œ œ
œ jœ # œ œ ‰ ƒœ pœ œœ ≈ œœ œœ ≈ œœ. œœ. œœ œœ œ œ œ œœ œ œœ œœ œœ œœ œœ
œ
&
? œœ œ œŒ œ j‰ ƒœ pn œœ œœ . œ. œ jœ œœ‰ œœ œœ œœ œœŒ œ
? œj ‰‰ œœJ ‰‰ œ œ
œj‰ ƒœ œ œ œ œ œ. œœ. œœjœ ‰ œ œ œ Œ œ œ œ
œ
? œœ ŒŒ œj œj‰ ƒVœ pœ œ œ œ œj ‰ œ
?œ Œ œj ‰ œJJ ‰ œ“not œ œ œ œ œ
Œ
j‰ tonic”œ= “Continuous” j
œ ‰ œJ ‰ œ“not œ
œtonic” = “Continuous” œœœ ‰ œ
Œ
V
V
“not tonic” = “Continuous”
œœ œœ œ œrr œ
Phrase V
œ œ œ œ œ ‰
6
œœ
ten.
& œ œ œ œ œœ œ œ œ œ
“not6tonic” = “Continuous”
Phrase
œ œ œ œ
œ ‰‰
ten.
& œœ œœ œœ .. # œ œ œ
œœ. œœ. œœ.6 œœ.
Phrase 6
œ. œ. œœœ.. œœœ.. œœ œœœ œ œœr œœ œœ œ œ
œ œ œ. #œ œœ
ten.
& œœœ œœœ œœœ ... # œ œœ. œœ. œ. œ. œœ œr œ œœ œœ œœ
œœ. œœ. œœ œœ œœ œœ
Phrase
œœœ. œœœ. œ œ œœœ œ ‰‰‰

ten.
?
& œœ jj.. ‰‰# œ œœ œœ œ
? œœ œœ œœ œ œ
? œ œ œj . . œ.
œ
œ.
œ œ. œ. œ œ œ œ œ œ œ œjj ‰
? œ œ œj ‰ œ œ œ œ œ
œ
œ
œ œ œ
œ
œ
œ œ œ œ œ œ
œ œ œ œj ‰
œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
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Figure 24.2.2: Haydn, Symphony No. 94 in G major, Hob.I:94, II (1791)
In naming any binary or ternary form, use the terms sectional or continuous
before binary or ternary, for example “sectional binary,” “continuous binary,”
“sectional ternary,” or “continuous ternary.”
Other descriptors include “two–reprise,” which means both the first sec-
tion (the A section) and second section (the A’ or B section) are repeated, and
312 CHAPTER 24. BINARY AND TERNARY FORMS
“rounded,” used in conjunction with binary (“rounded binary”) to specify that

the opening material returns after the contrasting section.
In the following sections we will discuss three types of binary forms:
1. Balanced Binary
2. Rounded Binary
3. “Simple” Binary (usually called “binary”)
24.3 Balanced Binary

A balanced binary form, according to Douglass Green in his book, Form in
Tonal Music, features a binary form with a first section (the A section) ending
in a new key, and the second section ending with essentially the same cadence, 113
113
113
now transposed to the original key, as in the following piece by Bach. 113
œœœ œœœ œœœ
œœœ œœœ œ œœœ œœœ œœœ œ œœœ œœœ œœœ œ œœœ
First Section
343 œœ œœœ œœœ œœ œœœ œœ œœ œ œœ œ œ

œ
First
First Section
œ œ œ œ œ œœ œ
Section
&b ‰ Section œ œœ œœ œ œ œ œ œ œ
& bbb433 ‰‰ œœœ œœœ œœœ œœœ œ œœ œ œ œœ
First
‰ œ œ œ œ œ œ œ œœ œ œœ œ œ
& 4 œ œ œ œ œœ œ œ œ
? 3 œ œ œœœ œ
œ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œ œœ œœœ œœ œœœ œœ œœ
œ
?
? bb 4334 ∑∑∑ ‰‰‰ œœœ œœœ œœœ œœ œœœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ
? 3 ∑ ‰ œ œ œ œ œ
b 4
These 9 bars modulating from F major to C major are transposed in the last 9 bars.
œ œœ œ œœ 9œ œbars
œ œ œœ modulating
œ œœ œ œœ œ œfrom œœ œ œlast
These 9 9 bars
bars modulating
modulating from
from FF major
major to
to CC major
major are
are transposed
transposed in
in the
the last
last 99 bars.
bars.
œ œFœ major
œ œ œ œto C major are transposed
œ inœ the œ œ 9œ bars.
These
& bbb œ œœ œœœ œœ œ œœ œœœ œœ œ œœ œœœ œœ œœœ œœ œ œœ œœœ œœ œ œœ œœœ œœ œ œœ œ
nnnœœœ œœ œœœ œœœ œœ œœœ
œ œœ œ œœ œ œ œ œ œœ œ œœ œ b œ
These
&
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ bb œœ
&b nœ œ œ œœ œ b œ
œ œ
&b œœœ œœœ œœœ ? nnnœœœ œœ œ œœ œœœ œ
& bbb œœœ œœ œ œœ œœœ œœ œ œœ œœœ œœ œ œœ œœœœœœœœœœœœ
œ œœœ œœ œœœ œ œœœ œœ œœœ œ œœœ œœ œœœ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ ?
? nœ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ ?
œ œ œ Second Section
Second Section
Second Section
œ œ nœ œ œ
& bb œœœ œœœ œœ n œ œœ œ œœœ œœ œœœ œœ œœœ œœ n œ œ œ œ nœ œ Œ Œ
Second Section
&
&
œ
œœœ œœ œœœ œœ œœœ œœ nnœœ œœ œœœ œœœ œœ œœœ œœ œœ nnœœ œœœ ŒŒ Œ
&b œœ œ œ n œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ
Œ
œ œœœ œ œœœ œœ œœœ œœ œœœ nnœœ œœœ œœ œ nœ œ œ œ
?
?
? bb œ œ œ œ œ œ œ nnœœ œ œœ œ œœœ œœœ nnnœœœ œ œœœ œ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œ œœœ œœœ œœ œœœ œœœ ‰ œ œ œ œœœ œ
? œ œ œ œ œœœœœ œ œœ œ œ œ œ œœ œ œ œœ ‰‰ œ œœœ œœ œ œœ
b œ œœ ‰ œ œ
Cadence in C major
œ
Cadence
Cadence in
in C
C major
œœœ nnœœ œœœ œœ œœœ œœ œ œ œ œ œ
major
œ œ œ œ œ
œ œ œ œœ œ
Cadence in C major
&b œ b œ œ œœ œ œœ œ œœ œ œœ œœ œ
& bbb ‰‰‰ œ œœœ œ œœ œ œ n œ œ œœ œ œœ œœ œœ œœ œœ œœ
œ œœ œœ bb œœ œ œ œ œ œœ œ œ œ œœ œ œœœ œœ œœœ œœ œœœ œœ
& ‰ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ
œœ n œ œ œ œ œ œ œ œ œ bœ œ œ
œ bœ #œ œ œ œ œ œœ n œ b œ œ œ œ
?
? bb œ n œ œœ œ œœ œ œ œœ œ œœ œ
œ nœ œ œ œ œ œœ œœ œ œ œœœ œ œœœ œœœ œ bœ #œ œ œ œ œ œ n œ bb œœ œ œœ œ œœ œœ œœ œœ œ
? bb œ œœ œ œ œ œ œ #œ œ œ œ nœ bœ œ œ œ œ œ œ
œ œœœœœ
œ œ œ
œ
œœ œœœ bbbœœœ œœ œœœ œœ œœ œ œœ œ œ œ œœ œ œœ œœ
œ œ # œ œ œ œ œ œ œ œœœ œ œœœ œœœ
&b œ œ b œ œ œ œ œœ œœ œœ œœ œ œœœ œ œ œ œ œ œ ## œœ œ œœ œ œœ œ œ œ œ œ œ
& bb
&
œ œ œ #œ œ œ œ œ œ
& œ
œ œœ œ œœ œ
œ œœœ œœœ œœ œœœ bbœœ œœœ œœ œœ œœ œœ œ nœ œ œ œ œ
œ œ n œ œ œ œ œ œœ œ œœ œœ œœ œœ œœ
? œ œ œ œ b œ œ œœ œœ œœ œœ œœ œ œœ œ n œ œ œ œœ œ œ œ œœœ œ œœ œœœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ
? bb
? bb œœ œœ œ œœ œ œœ œ œœœ œ œ œ œ œœœ œ œ œ œ
œ
œ
œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ œœœ œ œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœœ œœœ œœœ œœœ nnœœ œœœ ##œœ œœœ œœ œœœ œœ œœœ œœœ œœ œœœ œœ œ œœ nnœœ œœ ###œœœ œœ œ œœ œœœ œœ bbœœ œœ œœœ
& bbb
& œœœ œ œ œ œ
œ œ œ œ œ nnœœ ##œœ œ œœ œ œ œ œœ nnœœ # œ œœ œ œ bbœœ œ œœœ œ
& œ
œ
?
?
? bbb œ œœ œœ œœ œ œœ œœœ œœœ œœ œœœ nnœœ œœ
œ
œœ œœœ ###œœœ œœœ œ œœœ œ nœ œ œ œ œ œ œ
?b œ œ œœ œ œœ œœ
œ
œ œ œ œ nnœœ œ œ œ #œ œ œœ œ œœ œœ nnnœœœ œœ œœœ œœ œœ œœ œœ œœ œœœ œœ
œ
œ œ œ œ œ
œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ
?b œ œ œ œ œ œ œœœ œ œ œ œ
œ
24.3. BALANCED BINARY 313
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ
&b nœ œ œ nœ œ bœ œ œ œ
?b œ œ œ œ œ œ œ œ
œ œ nœ œ œ œ #œ œ œ nœ œ œ œ œ œ œ œ œ œ
œ œ œ
These 9 bars are modulating from B¯ major to F major.
b œ œ œ œ œ b œ œ œœ bœ œœ œ œœ œ œœ œ œœ œ œœ
114 These 9 bars are modulating from B¯ major to F major.
& œœ œœœœœœœœœœ œœ œ œœœ œ œœœ œ œ œ œ œ œ œœ œ
b œ œ œ œ œ b œ œ bœ œ œ œ œ
114
& œœ œœœœœœœœœœ œœ œ œœœ œ œœœ œ œ œ œ œ œ œ
œ œ œ bœ œ œ œ œ œ œ œ œ œ œœ œ œœœ œ œœœ œ œ œ œœ œœ œœœ œœ œœ
? b œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œœ œ œ bœ œ œ œ œ œ œ œ œ œ
? œœ œ œœœ œ œœœ œ œ œ œœ œœ œœœ œœ œœ
b œ œ œ œ œ œ œ œ œ œœ œ œ œ œ
œ
& b œœœœœœœœœœœ œœ Œ Œ
b œ œ œ œ œ œ œ œ œ œ œ bœ œ œœ œœ œœ œ œ œ œ œœœ
œ œ œ œ œ œœœ œ œ œœ œ œœ œ œ œœ Œ Œ
& bœ œ œ œœ œœ œœ œ œ œ œ
œ œ œœ œœ œœ œ œœœœœ œ œ œ œœ œœ
? b œ œ œœ œ œ œœ œ œ œ œœœœœœœœ
? œ œ œœ œœ œœ œ œ œ œ œœœœœœœœœ Œ Œ
œ Œ Œ
b œ œ œ œ œœ œ œ œ œœœœœœœœ œœœœœœœœœ œ œ
œ
Cadence in F major
Cadence in F major
& bb
& images/video-339.jpg
?b
? b https://www.youtube.com/watch?v=HFeLqgVLxBM
YouTube:
b œ œ œBach,
œ œ œ œ J.S. bœ œ œ œ œ œ œ œ œInvention
œ œ œ œ œ œ œ No.
114
&b
Figure 24.3.1:
œ œ œ œ œ œ œ œ œ8œ œin F major, BWV 779
œœ œ œœœ œ œ œ œ œ œ œ œ
œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?b œœ œ œ œœ œœ œ œ œ œ œ œ
œ œ œ
Because the first section of a balanced binary ends in a new key, it is
inherently a continuous binary form.
Balanced & b œ œ œ œ œ form
œ œ œ œ œ œ bœcanœ œ be Œ Œ Baroque era,
binary œ œ œ œ œ œfound œœœ œ œ fromœ the
œ œ œ œ œ œœ
œ œ œ œ œ œinœ movements
œ
œ
? b œ œ œ œ œ œ œœœœœœ œ œ œ œ œ œ œ œœœœœœœ
including dance suites œby Bach, Handel, and others. The movement below
Œ Œ
shows the endings of the first and section sections œ œ œ the
œ œ œ œof œ œ œ Courante
œ œ from J.S.
Bach’s French Suite No. 6 in E major, BWV 817.Cadence in F major
## j j
& # # 43 œ œ œ œ œ œ œ œ œ œ œ # œ œ ‰ œ œ œœj..
œ
≈ ..
œ J J.
? # # # # 43 œ œ œ œ œ.
œ œ ≈œœœ J ..
œ
## j
œ œ œ œ œ œ œ œ œ œ œ ‰ œœj.. . ≈
& ## œ œ J
YT: jrHP6Fp1yUY œ œ
œ J J. .
œ
œ œ œ . Courante, bars
? #### œ œ œ œ œ œ
Figure 24.3.2: J.S. Bach, French Suite No 6 in E, BWV, 817
15–16 ≈ œ œ J ..
J J
? #### 3 œ œ œ œ.
4 œ œ œ ≈œœœ J ..
œ
j
#### œ œ œ œ œ œ œ œ œ œ œ ‰ ≈ œœj.. .
& œ œ J œ
œ œJ œJ . .
œ œ œ œ œ œ.
? #### œ œ
œ ≈ œ œ J ..
YT: jrHP6Fp1yUY
œ œ œ b œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
114
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? b œœ œ œ œ œ œ œ œ œ œ œ œ
œ
œ œ œ œ
Figure 24.3.3: J.S. Bach, French Suite No 6 in E, BWV, 817 Courante, bars
31–32
œ
& b œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ Œ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ
? b œ œ œ œ œ œ œ œ œœœœœœ œ œ œ œ œ œ œ œœœœœœœ
œ œœœœœœœœœ œ Œ Œ
œ
Cadence in F major
#### 3 œ œ œ œ œ œ # œ œj ‰ j
j. ..
& 4 œœ œ ≈œ
œ œ œ œJ œ œJœ. .
? # # # # 43 œ œ œ œ œ.
œ
24.4 Rounded Binary

#### j
œ œ œ œ œ œ œ œ œ œ œ œ j. ‰ ≈
& œ œ J œ œJ œ œJœ. . ..
œ œ œ.
at the beginningœof œthe first section
# œ
In a rounded binary form, œ
? # # #oftenœ shortened, after a contrasting
the material
œ
≈ œat the beginning of Jthe ..
returns,
œ phrase
second section. A generic phrase diagram of rounded binary form is shown
below.
First Section Second Section

a a b a
(opening melody
returns)
Below is an example of a rounded binary form.

115
115
24.4. ROUNDED BINARY 315 115
First Section
œœœ œœ œœœ œœ œœ œ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
First Section
### # C Phrase œœœ œœœ œœœ
First
PhraseSection
˙˙˙
1
& # C œ
Phrase 1
œ
1
œ
œ œ œ œ œœ œœ œœ
& # C œœ œœ
& œ œ
ppp
?
? ### ### CCC ÓÓÓ &
? œœ œœ
& œœ œ œœœ œ œœ œœœ œœ œœœ
& œœœ œ œœœ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœœ œ œœœ
œ œ œ œœœ œœ œœœ œ œœœ œœ
### # œœœ œœ Phrase œœœ œœ ## œœ œ œœœ œœœ œœœ œœ œœ œœœ œœ œ

˙˙˙2 œœœ œœœ œœœ œœ œœœ œœœ œœœ œœ œ # œ œœ
œ
Phrase 2
œœœ ...
Phrase 2
& #
# œ œ
œ œ
œ œ œ œ œ œœ œœœ
&
& œ... œ... œœ œœ œœ .
fff
œœœ œ œœœ œœ œœ œœ œœ œ
&
### #
## Ó
Ó ?
? œ
œ œ
? œ œ œœœ œ œœ œ
œ œœœ œœœ ### œœœ œœœ œœœ œ œœœ œ œœœ œœœœ œœœœ ### œœœœ ˙˙˙
˙˙ ...
&
& œœ˙œ˙ œœœ Ó œ ˙ .
˙
Second Section
Second Section
materialœ and
Second
Phrase 3Section
œ œ œ texture)
œ and œ œ œœ œœ ### œœœ œœ nnn œœœ œœœ œœ œœœ j
œœœjj ‰‰‰ Œ
(contrasting material and texture)
œ# œ œ œ œ œ# œ n œ œ
(contrasting material
... œœ ## œœ œœ œœ œœ œ ## œœ œœœnn œœ œœ œœœ œœœ

Phrase
Phrase 3
### # œœœ œœœ œœ ˙˙˙
3 (contrasting texture)
& # œ œ œ ### œœœ ˙˙ ... ŒŒ

& #
& .
ppp ### œœœ œœœ œœ nnn œœœ ff pp
f p ‰‰‰
?
? ### ###
? .. ÓÓ œ œœ œœ nn œœ & œœœ œœ œœ œ œœ œ ˙˙ œœœ ˙ j ŒŒ
.. Ó œ nœ & & œ œ œœ œ œœ œœœ œœœ œ˙œ
œ
œœœ œœ œœœ ˙˙ .. œœœjj Œ
˙.
### # Phrase 4 (opening melodyœ returns)

œœœ œœœ œœ œœœ œœœ œœœ œœ œœ œ œœœ œœœ œœœ œœ œœ œœœ œœ œ
Phrase
Phrase 4
4 (opening
(opening melody
melody returns)
˙ œ œœœ œœœ
returns)
& # Ó
Ó œ œ ˙
˙ œ
œ œ
œ œ œ œœ œœœ œ œ œ œœ ...
& # Ó œœ œœ
& œ œœ œœ œœ .
fff œœœ œœ œœ ˙˙˙
### # œ œ œ ...
# ∑∑∑ ?œ œ œ ˙˙
œ œ ?
&
& #
& œœœ œœ œœœ œœ œœ œœœ œœœ œœœ œ œœœ œœ œœœ œ œœœ œœœ œœœ œœœ ? ˙ .
œ œœ œ œœ œ
YT: zHtXRBi91dA
Figure 24.4.1: Mozart, Piano Sonata in D major, K. 284, III.

œ œ œ œ œ œ.
? #### œ œ
œ ≈ œ œ J ..

/: a a'
:/:
b a''
:/
D: HC A: PAC D: HC PAC
Because both the first section (the A section) and second section (the B
section) repeat in the example above, this form would be called “two–reprise
continuous rounded binary form.”
Another example
a of a rounded
a binary form bis below. a
116 (opening melody
116 First Section returns)
First Section
. 1 œœ .. œ
343 œœ . œœ œœ œœ œ
Phrase 1 Phrase 2
œœœ ˙œœ˙ œ œœœœ œœœœ œœœœ œœœœ œœœœ .... # nn œœ œœœœ .... œœ ˙˙˙˙ œ œœœ œœœ œœœ
Phrase
b
Phrase 2
&
&b 4 œœ œœ œ #œ œ œ œ œ
pp
?
? bb 343 Œ œœ ˙˙ œœ œœ œœ œœ Œ œœ œœ
4 Œ œœ œœ œœ œœ Œ œ .
œœ œ .
Second Section
Second Section related to first phrase)
œœ .. œ œ(melodically œœ phrase)
œœ œ
Phrase 3 (melodically
œœ œœ œ œ œ œ n œ œ œ œ
... ... œ œ œ œ œ œ
Phrase 3 related to first
& b œ œœ œ œœ œ œœ n œœ ˙˙
& b ˙œ˙ œ œ ˙˙ . .
?
? bb ˙˙ œœ œœ œœ œ œœ & .... .... œ .. œ œ œ œ ˙ œœ œ
œ œ œ œœ œœ œœ ˙˙
œœ & (different œ
œ œ œ texture
accompanimental ˙ and register)
(different accompanimental texture and register)
œœ œ œ . # œ œ . œ ˙ œœ .. œ
Phrase 4 (opening melody returns)
œ œ. #œ œ. œ ˙ œ œœœ œœœ œœœ ˙œœ œœ œœœœ œœœ œœœ œœœ œœœ ... œœ œœ œ
Phrase 4 (opening melody returns)
& b ˙˙ ...
&b œ œ œ ˙ œ œ œ œ . œœ œ œœ .
œœœ
& bb œ œ . œ . œ ? ?œœ ŒŒ œœ ˙˙ œœ œ œ œ .
# œ œ
& œœ œœ . # œ œœ . œ œœ œ
œ œ
œ œ
œ
œ œ œœ ..
œ
& b
&b
YT: 2vs-CrxwOmE
?
? bb
Figure 24.4.2: Schubert, 20 Minuets, D. 41, No. 18 in F major
This form of the example above would be called “two–reprise continuous

rounded binary form” because:
• Two–reprise means both the first and second sections repeat
• Continuous means the first section does not end on the tonic chord
24.5. SIMPLE BINARY 317
• In a rounded binary form the opening melody returns after contrasting

material
Rounded binary form is often encountered in compositions during the Classical

era (1750–1825) in music by Haydn, Mozart, and Beethoven, especially as the
form of a theme from a theme and variations, and as the minuet and/or trio
section in a Minuet and Trio.
24.5 Simple Binary
“Simple” binary is a term used to describe a binary form that does not have
features like the similar endings of a balanced binary or the return of opening
material like the rounded binary. You will encounter this type of binary form
in music especially throughout the Baroque era, as well as in the early Classical
era.
117
318 CHAPTER 24. BINARY AND TERNARY FORMS 117
117
117
117
117
First Section
First
œFirst
First œœ œSection
œœ œ œ
Section
## œœ œ ˙˙ œ œœ œ
bb bbb œœ œœ œœœSection
œ œœ œ œœ œœ œ œœ œ œ œ œ œœ œœ œ œœœœ œœ œœœ
First Section
CC ˙˙ œœ
&
& bb CC œœ œ œ œœ œœ œœœœ œœ ##œœ œœ
# œ œœ ˙ œœ œœ œœ
œ œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœœ œœ
& bbb
&
& C œ œ œœ œœ œ œœ œ œ œœ
œœ œ
œœ œ œœ œ œ œ œ œ
? b CC œ œœ œœœ œœœ œœ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œ œ # œ
œœ œœœ œœ œœ œœœ œœ ## œœ œœ œœ œœ œ œœ
? œœ œœ œœ œ œ œ œœ œœ œœ œœ
? bbbbbbbb
?
? CC
C
œœ œœœ
œœ œ œ
œ œ œ œœ œ œ œœ ##œœ œœ
œ
œœ
œ œœ œœ
œ œœ
œœ
œ
b œ
(starts in G minor)
(starts in G minor)
(starts
(starts in
(starts in G
G minor)
minor)
(starts in
in G
G minor)
minor)
œœ œœ œœ ## œœ œœ .. nn œœ œœ œœ œœ
bb bbb œœ œœ œœ œœ œœ œœ.. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙ .. ˙˙
1. 2.
1.j 2.j
& œ ##œœ nnJœJœ œœ œ œœ œœ
œœ œ œœ œœ œ œœ œœ j˙
œ1.jj œ2.jj
1. 2.
& bb œ #œ œ. n œJJ œœ œœ œ œœ ˙ .. ˙˙
& bbb œ œ
œœ j œœ j
& œ œ œ œ œ œ œ œ œœœj ˙˙ .. ˙
1. 2.
j
& J œœœj
1. 2.
œœ œœ œœ œœ œœ œœ œ œœ œœ
? œœ œœ œœ œœœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ
?
?
? bb bbb œœ œœ
œ
œœ
œ œ œ œœ œœ
œ œœ
œ œœ
œ œœ œœ œœ œœ
œœ œœ œœ œœ œ ...
œœ œœ œœ œœ œœ
œ
? bbbbb œ œ œ œ œ œ œœ œœœ œœ œœœ ... œœ œ œ
(ends in Bœ ¯ major)
œœ œ
(ends in B¯ major)
(ends
(ends in B¯¯ major)
in B major)
(ends
(ends B¯¯ major)
in B
frominfirst major)
œ œ œ œœ œ œ œ œ œ n œ œ
Second Section
œ œ œ œ œ œ œ œœsection)
(develops melody and motives section)
œ
Second
œSection
˙ œ œ œ
bb bbb œœ œœ œœ œœSection
œœ œ œœ œœ(develops œ œ œ œ œ œ n œ œ œ œ œœœ œ
Second Section (develops melody and motives from first
.. Second œ ˙ œ œ œ œ n œ œ
œ œ œœ œ œ œœ nnœœ œ œ œ œœ œ œœ œœœ œœœ œœœœ œœœ œœœœ nnnnœœœœ œœœœ
œ œ œ
(develops melody and motives from first section)
œ œ œ
Second Section
& œ œ
.. œœœ œœ œœ œœ œœœ œœœ œœ œœ œœœ ˙˙ ˙ œ œ n œ œ œ œ
(develops melody
melody and
and motives
motives from
from first
first section)
section)
& bb
(develops melody and motives from first section)
& bbb
&
& .. œ œ œ
œ
œœ œœ œœ œ œœ œ œœ œ œ œ œ
? b .. œœ œœ œœœ œœœ œœœ œœœ œœ œœœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœ
?
? bbbbbbbb
? .. œ œ œ œ œ œœ œœ œœ œœ nnn œœœ œœœ œœœ œœœ œ œ œ œœ œœœ
? b .. (begins in B¯ major) œ œ nnœœ œœ œœ œœ œœ œœ œ
(begins in B ¯ major)
(begins
(begins in B¯¯ major)
in B major)
(begins
(begins in B¯¯ major)
in B
m
major)
œœ n œ # œ œœ œ œ œ œœ œ n œ œ œœ œœ mwwwm
m œœ œ œ œœ œœ œœ œ œ nn œœ œ # œ œ œœœ œœ œœ œœ
& bb bbb œœ nn œœ ## œœ œœ œœ œœœ œœ œœœ œœ œœœ nn œœ œœ œœœ œœ
œ mww œœ œœ œœœ œœ œœœ œœ œœœ œœ
œ œœ œ œ œ œ œœ nnœœ œœœ ## œœ œœœ œœ œœœ œœ œœœ
& bb œ nnœœ ##œœ œ œ œ œœ œ œ œ nnœœ œœ
& bbb
&
& œœ œœ n œ œœ œ n œ # œ
n œ œ ##œœ œ œ
œœ œœ nnnœœœ œœ œœ œœ nnnœœœ ## œœ œœ ˙˙ œœ œœ œœ œ œ
?
? bb bbb nn œœ œ n œ # œ œœ œœ œ nœ œ œœ œœ n œ ##œœ œœ ˙˙ œœ œœ œœœ œ
?
? bbbb nnœœ œœ nn œœ ## œœ œœ œ œ œ œ ˙ œœ œœœ œ œœ œ œœ
? n œ œ nnœœ ##œœ œ œœ œ
b œ œœ
œœ
bb bbb ˙˙ œœ œœœ bb œœ œœ œ n œ bbb œœœ œœ œ œœ œœ œ œœœ
œ œœ œ œœ œœ œ œœœ
œ œœ œ œ œ œœ œ œ
&
& bb ˙˙ œœ œœ bbbœœœ œœ œœ nn œœ bbœœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œ œœ œœ œœœ œœ ## œœ œœœ œœœ œœ
œ œœ nnœœ œ œœ
& bbb
&
&
˙ œ œ œ œœ œ œœ œ œ œœ œ œœ œ œœ ##œœ
#œ œ œœ
Mœ M Mœœ m
mww ˙˙ M
Mœœ M
Mœœ ˙˙ M
Mœœ œœ ˙˙ œœ œœ œœ œœ
?
? b œœ bb œœ œœœ M
M
M œœ M
M m
mwwmw
M
M M
M M
M
? bbbbbbbb
?
? œœ œœœ bbœœ œœ Mœœ Mœœ
b œ œ ˙˙
˙ M œœ
œ M œœ
œ
˙˙
˙ M œœ
œ
œœ ˙˙
œ ˙
œœ œœ œœ œœ
œœœœ
b œœ
œ
(back in G minor)
(back
(back in G minor)
(back in
(back in G
G minor)
minor)
(back in
in G
G minor)
minor)
& bb bbb œœ œ œ œ œ œ œ
œœ œœ œœ œœœ œœ œœ œœ
œœ œ œ œ œ œ œ œ
œœ œ n œ # œ œ œœ œœ œ
œœ œœ œœœ œœ œœ œœ œœ œœ œœ œ œœ œœœ œœœ œœœ ## œœ œœ œ nnn œœœ nn œœ œœ œ
& bb œœ œœ nn œœ ## œœ œœœ œœ œœœ œœœ
& bbb
&
& œ œœ œœ œ œœ œœ œœ œ œœ nnœœ ##œœ œ œ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œ œœ œœ nnœœ n œ œœ œœ
œ ##œœ œ œœ nnœœ œ œœ
œœ œ
? b œœ œœ œœ œœ œœ # œ œœ œœ œ œ œœ œ œ œ Œ Œ
?
? bbbbbbbb
?
?
œœ œœ œœ œœ œœ ###œœœ œœ
œ œ œ œ œ #œ œ œœ œœœ œœ œœ ## œœ œœœ œœ œœœ œ œœœ œœœœ œœœ œœœ œœ ŒŒŒ nn œœ ŒŒŒ
b œ œ œœ œ œ
##œœ œ œœ œ œœ œ œ œœ œœ œœ Œ nnœœ Œ œ
(opening melody #doesœ not return—not œœ rounded binary) nœ
(opening melody does not return—not rounded binary)
(opening
(opening melody
melody does
does not return—
not return —not
not rounded
rounded binary)
œœ œœ # œ œœ œœ œœ
binary)# œ
binary)
bb œ œœ n œ does nn œœ return
118 (opening
(opening melody
melody does not
not return —
—not
not rounded binary)
œ œ œ œ
rounded
b b œ
118
& b œ œœ œœ œœ œ œ œ œ n œ œ œ b œ œ œ œ œ
& œ œ œ œ œ œ
? œœ œ œ œœ œ œ œœ
? b bb œ œ œœ œœ ŒŒ œ ŒŒ œ œ
b œœ œ œœ
œœ n œ # œ œ œœ œ œ œ œœ œ œœ œ œ œ # œ œœ œ œ œ m
b bb nœ #œ œ œ œ œ œ œœ œ œ œ # œ œ œ œ mœœ œœ œœ ..
&
&b ˙˙ .
? œœ œœ œœ œœ œœ
? bb bb ## œœ ŒŒ nn œœ ŒŒ œœ ## œœ œœ ˙˙
..
.
(different ending than first section—not balanced binary)
(different ending than first section—not balanced binary)
& bb bb
&
?b œ œ œ œ œ œ œ œœœœœœ œ
œ œ œ œ œ œ œœœœœœœ Œ Œ
œ œœœœœœœœœ
œ œ
24.6. BINARY PRINCIPLE Cadence in F major 319
#### 3 œ œ œ œ œ œ # œ œj ‰ j
j.. ..
œ ≈œ
Notice in the example above that the first section and second section can
& 4 œœ œ œ œ œ
œ œJ œJ .
begin similarly in a binary form, resulting in the large–scale form AA’. The
second section often features development of the primary idea from the first
section. We will discuss development in the next chapter.
? # # # # 43 œ œ œ œ œ.
œ
#### j
œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ ≈œ
œ j.. ..
& Binary
24.6 œ Principle J œ
œ J J. œ
œ œ œ œ œ œ.
#
?# # œ œ ≈ œ œ J ..
Binary #principle, as defined by Peter œSpencer and Peter Temko in their
book A Practical Approach to the Study of Form in Music, states that the
first section of a binary form modulates to a new key and the second section
modulates First
backSection
to the first key. We find Second Sectionexemplified in a high
this principal
/:
percentage of binary
a forms in the
a'
:/:
Baroque era, and
b
:/
diagrammeda''in the example
below.
D: HC A: PAC D: HC PAC
a a b a (opening melody
returns)

Major: I modulation V V modulation I
Minor: i modulation III (or v) III or (v) modulation i
Original key New key Original key
Figure 24.6.1: Diagram illustrating Binary Principle
24.7 Ternary Form
Ternary form is usually diagrammed as ABA and is described as “statement,

digression, restatement.”Green, Douglass M. Form in Tonal Music: an Intro-
duction to Analysis. 2d ed., Holt, Rinehart and Winston, 1979, p. 84 A piece
in a rather simple and straightforward ternary is shown below.
œ
b 24 œ . œ œ œ œ . œ œ œ œ . b œ œ œ œ œ œ œ œ œ œ œ
119
&bb œœ œœœœœ
b 24 œ . œ œ œ CHAPTER œ œ œ24. œBINARY
. b œ œ AND
119
320& b b œ . œœœ
b F œœ œ œ œ œœ . œ œ œ TERNARY œ œ œ œ œ
œ œ bœ œ œ nœ
4422 Fœœ . œ œ œ . œ œœœ
FORMS
?
& bb b bb
119
œ œ œ
? b
& bb b bb 2 Fœœ . œ œœ œ œœœ . œ œœ œ œœ . b œ œœœ œ œ œ n œ œ œœ œ œ œ
4 œ œ œœ œœ œ œ œ nœ œ
? b 2 œ
bb 4 Fœ œ œ
? b 2 œœ œ œ œœ œ œœ œ œœœ œ œœ . b œœ œ œœ œn œœ œ œœ œ
&bb 4œ . œ. œ
b . œ œ œ œ. œ œ œ œ. bœ œ œ œ œ œ œ œ œ
& bbb œ
p œœ œ œ œœ œœœ œ
?
& bb b bb œœ . œ œ œœ . œ œœ œ œ . b œ œ œœ
p œ œ
œœ œ œœ . œ œœ œ œ . b œ œœ œ œ œ œ œ œ œœ
? b bb b p œ
œ . œ œ œ
&bb œœ œœ œœ œœ œ œ œ
? b œ
bb p œ œ
? b œœ œ œœ œ œœœ œ œœœ œœ œ œœ œ œ œœ œ
œ œ œ œœ
&bb œ œ œ
& bbb
b fœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ
œ œ œ œ œ œ œ œ œ œœ œœœœœ
& bb b bb
? f
œ œ œ œ œœ œ œ œ œ œ œœ œœ œ œœ
œ œ
? b f œ œ œ œ œ
& bb b bb œ œ œ œ œ œ œ œ œ œ œ œ œœ
? b f œ
bb œ œ œ œ œ œ œ
? b œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ Uœ
&bb œ œœœ
b œ œ œ œ œ œ œ œ œ œ œœ œœ U
& bbb pœ œ œ œ
œ œ œœ œ œ œ œ œ œœ œ œ œ œ œœ œ œ Uœœ
& bb b bb
? p
œ œ œ œ Uœ
œ œ œ
p œœ œ œœ œœ œœœœ œœœ œœ œ . b œ œ œœœ œœ œœ œœœ œœ œœ œœ œUœœ
?
& bb bb bb œ. œ œ œ. œ œ œ œ œ œ œœ
120
&
? b pœ . œ œ œ œ . œ œ œ œ œ . b œ œ œ œ œ œœ œ œœ œ œUœ œ œ
&bb
120
? bbb
f
œœ œœ œœ œœœ œ œ œ œ œ nœ œ œ œ
f œ œ
? b œœ œœ œœ œœ œ œ œ nœ œ
bb
b œ. œ œ œ œ. œ œ œ œ . b œ œ œ œ œ œ œ œ Uœ
&bb
b œ œ œ œ. œ œ œ œ . b œ œ œ œ poco œ œ Uœ
œ œ rit.
&bb pœ . œ œœ œœ
œ œ
œ œ U
? bb œœ œ œ œ
b p œ œœ
œœ œœ œœ œœ œ œ U
poco rit.
? bb œ
b
b
& b bFigure 24.7.1:
YT: BJviMnAB_jg
b
&bb
Mozart, Andante in E–flat major, K. 15mm
? bb
b
?Below
bb b is a diagram of K. 15mm by Mozart.
b
&bb
b
&bb
p œœ œ œ œ U
? b b œœ œœ œœ œ œ
poco rit.
œ
b
24.7. TERNARY FORM 321
A B A
a a' b b a a'
E¯: HC PAC HC HC HC PAC
Figure 24.7.2: Diagram illustrating Binary Principle
Character pieces from the Romantic era with titles such as “Nocturne,”
“Intermezzo,” and “Song Without Words,” among others, by composers such
as Schubert, Chopin, Mendelssohn, Schumann, and Brahms, are often in a
larger ternary form where each section might be longer than eight bars.
Below are examples from a larger ternary piece, Rachmaninov’s Prelude in
C–sharp minor, Op.3 No.2.
121
# # # # Lento ‰ ‰ j‰ ‰ ‰ j‰
& c œœ œœ # œœ n n œœ # œj œœ œœ # œœ n n œœ # œj
œ œ nœ œ œ œ nœ œ
œ
> œ w ˙ œ- - - n œ - œ # œ- ˙ œ- - - n œ - œ # œ-
ƒ > ∏ . . . .
> -œ œ- ‹ œ- # œ- # œ- - œ- ‹ œ- # œ- # œ-
‰ œ œœ # œ ‰ # œ ‰ œ
‰ œ œœ # œ ‰ # œ ‰
? #### c œ ‹ œ # œ # œœ œ ‹ œ # œ # œœ
œ œ nœ J œ J nœ J œ J
œ œ w ˙ n œ œ. ˙ n œ. œ.
> > w ˙ . ˙
>
121
- - - -j - - - - -j -
# ‰ ‰ ‰ j ‰ ‰ ‰
## # c
# œœ œœ # œœ n n œœ # œ œœ œœ # œœ n n œœ # œj
Lento
&& # œ n œ n œ œ # œœ
œ œsCtixpIWBto œ œ œ n œ n œ œ # œœ
œ œ
> > w ˙ ∏ . . ˙ . .
ƒ >
YT:
œ ‹ œ # œ œ ‹ œ
‰ œœ œœ # œ ‰ # œ ‰ # œ ‰ œœ œœ # œ ‰ # œ ‰ # œ
Figure 24.7.3: Rachmaninov, Prelude in C–sharp minor, Op. 3 #
No. œ 2, First
? # # #
? ### # # c œ œ ‹ œ # œ œ œ ‹ œ # œ œ
œ w ˙ - - - n œ J- œ # œJ ˙ - - - n œ J- œ # œJ
A section bars 1–13
œ
> >œ w ˙
n œ. œ. - n œ. œ. -
˙
>
## ### # - - -
Agitato
- - - - -
&##
& œ œ œ œ
œ œ œ œnœ #œ œ œ œ œ œnœ # œ œ
œ ‹œ #œ œœ œ ‹œ #œ œ œ œ œ œ œ œ œ œ œ
? # F## 3 - 3 - 3 - 3 -3 -3 - -3
#
3
? ## # Œ
3 3 3 3
cresc.
#œ nœ œ œ #œ nœ œ œ œ œ œ
w w
w
# ### #
#
& ##
& YT: sCtixpIWBto
Figure 24.7.4: Rachmaninov, Prelude in C–sharp minor, Op.3 No.2, B sec-
?# #
? # ### ##
tion bars 14–42
####
&
>œ >œœ # >œœ # n >œœ >œ >œœ # >œœ # n >œœ

Tempo primo
# # # # œœœ œœ ‹ œœ # n œœ # >œœ œ œ‹ œ # œ # >œœ

‰ ‰ J ‰ # # œœ ‰ œœ œ œ ‰ n œJ ‰ # # œœ
53
& J J
Ï pesante sÎ
####
& nœ œ nœ œ
˙˙ nœ œ ˙
˙˙ nœ œ
˙˙ > > ˙ > >
> >
>œœ >œœ ‹ >œœ n # >œœ # >œœ >œœ >œœ ‹ >œœ n # >œœ # >œœ
? # # # # ‰ œœ œœ # ‹ œœ ‰ # # œœ œ
‰ # œœ ‰ œœ œ # ‹ œœ ‰ # œJ
# œ
‰ # œœ
J J J
Ï pesante sÎ
? ####
nœ œ nœ œ
˙˙ nœ œ ˙
˙˙ nœ œ
˙˙ > > ˙ > >
> >
# ##
& # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
55
YT: sCtixpIWBto
####
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? #### ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? #### ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure 24.7.5: Rachmaninov, Prelude in C–sharp minor, Op.3 No.2, Second
A section bars 45–61
24.7.1 Compound Ternary

A compound ternary is a ternary form in which one of the sections (the A
or the B) is itself a binary or ternary form. Examples can be found in the
minuet and trio as well as the da capo aria.
In the next section, we will examine the differences between rounded binary
and ternary.
24.8 Distinguishing between Rounded Binary and Ternary

In homework and on the test, you will encounter pieces that are five or six
phrases long that could be rounded binary or ternary. While other authors
have their own means to differentiate rounded binary from ternary, this text
offers the following criteria to consider:
1. Proportion: consider the proportion of the contrasting section to the
other sections. If the contrasting section is too small to stand alone, the
form is more likely to be rounded binary.
24.8. DISTINGUISHING BETWEEN ROUNDED BINARY AND TERNARY323
2. Nature: consider the nature of the contrasting section.
(a) If the melody is built from motives from the first section, the form is
likely to be a rounded binary. Ternary form will have a contrasting
melody in the contrasting section.
(b) If the harmony consists mostly of a dominant pedal, or a V chord

alternating with a I or I 64 chord, the form is likely to be a rounded
binary.
3. Era: consider the era when the piece was written. A piece by a Baroque
composer (J.S. Bach, Handel, Scarlatti, Couperin) or Classical composer
(Haydn, Mozart, and Beethoven) is more likely to be in rounded binary
form, whereas a piece by a Romantic era composer (Schubert, Schumann,
Chopin, Mendelssohn, and Brahms, among others) is more likely to be
in ternary form. Note that these are generalities. Baroque and Clas-
sical composers will write compositions in ternary form and Romantic
composers will write pieces in rounded binary form.
Consider the following piece by Beethoven:

œ ˙ .
bœ
Vivace moderato.
œ ˙ # œ...
122
œ œ œœ ˙ ˙
& 433 ‰ œ œ œ ˙Œ˙Œ bœ n ˙˙˙ .. #œ
122 Moderato
œ œ œ œœ œ œ ˙ bb œœ ## œœ
122 Moderato
‰ œ œ œ œ ˙˙ nn ˙˙˙ ..
122
œœ œœ
Moderato
œ œ
& 43443
&
& ‰‰ pœ œœ œ
œœ
œœ œœ œœ ŒŒ np˙ ..
œœ œœ.. œœ.. œœ.. œœ.. .
b œœœ. œœ.. œ. œ.
?3 œ œ œ œ œ.. b .. œ .œ nn œœ... œœ...
? 4
? 3433 œ. œœœ.. œœœ.. œ. œœœ.. œœœ.. œ. bb œœœ œœœ.. œœ... nn œœœ œœœ
?
44 œ
œœ...
œ
œœ... œœ. œ
. . .
œ œ œœ œ
˙œ˙ b œ... # œœ... œ...
œ bœ
& ‰‰ œ œ œ œœ œ œœ œœ œœœ œœ œœ œœ˙˙ bb œœ n ## œœ
n# œ
œ Œ Œ .
œœœ Œ Œ ...
œ œ ˙˙
& ‰‰ œœ œœ œœœ œœ œœ œ œœ œ
&
& nn œœ œœ ŒŒ ŒŒ ..
œ œ. œ. œœ.. œœ.. . .
? œœ. œœ. b œœœ. n œœœ. œ.. Œ Œ .
œ.. œœ.. œœ.. œœ.. œ bb œœ.. n .. œ .
? œ .
?œ œ œ
?
œ œ .
œœ. œ œ
œ œ œ bœ nn œœœ œœœ.. ŒŒŒ ŒŒŒ ...
œœ.. œ.. œœ œœ .
. U.
œ œ.. œ œ.. œ #œ œ.. œ œU U œ.
œ # œ œ. œ œ œ. œ œ U œ
& ... ‰‰ œœ œœœ ### œœœ œœ. ‰‰ œœ œœ œœœ œœ. ‰ œ
œ œ
œœ ### œœœ œœ.. ‰ œœ œœœ œœ œœ..
. ‰ œœ ‰ œœ rit.œ
& .. ‰‰Fœ
&
& ‰‰ œ ‰‰ ‰‰poco
F
F . . œ. œ.
poco rit. U
? .. œ. # œœœ.. œœœ.. œ. œœ.. œœ..

F œ.. # œœœ.. œœ.. .œ œœœ #U U œœ
poco rit. rit.
œ U
.œ. œœœ ## œœœ
poco
#œ œ œ. œ. # œ. œœœ..
? ... œœœ... ## œœ. œœ. œœœ... œœ œœ
?
? œ
œœ.. ## œœ. œœ. #œ
.
œ ˙ .
œ ˙ bœ ˙ # œ...
œ œ œ œ œ œœ ˙ bœ n ˙˙˙ ..
& ‰‰ œ œ œ œ ˙Œ˙Œ ˙ bb œœ #œ
& œ œœ œœ œœœ œœ œœœ œœœ œœ œœ ˙˙ nn ˙˙˙ .. ## œœ
& ‰‰p
& œ œœ œ
aœ tempo ŒŒ n ˙ ..
p œaœ tempo
œœ.. œœ.. œœ.. œœ.. b œœœ.. œœ.. n œœœ.. œœ..
? pp œ œ œ.. œ œ.. œ
? œœ.
? œœœ.. œœœ.. œ. œœœœ.. œ
œœœ.. b.
bb œœœ. œœœ.. n.
nn œœœ. œœœ..
a tempo
œ. œ
a tempo
? œ œœ. œœ..
œœ... œœ...
. .
œ˙ b œ # œ.
123
œ œ œ œ œ
˙ n œœ
&‰ œ œ œ œ œ œ œœ Œ Œ ..
p
œœ. œœ. œœ. œœ. . .
? b œœ n œœ œ.
œ. œ. œ œ Œ Œ ..
& YT: hpQBbomOMj0
?
Figure 24.8.1: Beethoven, Eleven Bagatelles, Op. 119, No. 9
In terms of proportion, bars 9–12 contain contrasting material to bars 1–8.

Because the contrasting material lasts for half as long as the open section, we
consider the proportion as pointing toward rounded binary.
In terms of the nature of the contrasting section, the melody is built from
the contour of the first four notes of the first measure, and the harmony al-
ternates between V and I 64 . Both the harmony and melody point us in the
direction of rounded binary.
Finally, consider the era in which Beethoven lived. Is he considered a Classi-

cal or Romantic composer? This is a difficult question to answer, as Beethoven
is a unique figure who is a bridge between the Classical and Romantic eras.
However, it’s generally safe to consider Beethoven as belonging to the Classical
era, and therefore as likely to write a rounded binary form.
You will encounter examples on homework and the test where these three
criteria are not unanimous and you will have to weigh the evidence to come to
a conclusion.
24.8.1 Written–Out Repeats
Occasionally you will encounter an example where the repeats are written out.
When you encounter such a piece, put the repeats in your diagram even though
there are not in the score.
Day One
1. For Handel’s Gavotte, HWV 491, please fill in the blanks below the
staves and diagram the form. Also, name the form. You will need
to determine which notes are non–chord tones in order to determine
œ ˙. œœ œœœœœ
RomanAllegretto
# Allegretto
œ œœ œ œ œœ œœ œ ˙˙ ..
numerals.
4 œ œ œ œ œ œ œ œ œ œ ˙˙ ..
134
134
#
& Allegretto
4 œ œ œ œ ˙˙ . œ œœ
4 œœ œ œ œ œ ˙˙ . œœ œ œ œ œ
Allegretto
& # Allegretto
# œœ œœ . œ .
444 Fœ œœ œ œ
œœœ œœ œœœ œ œœ œœ œœ œœ œœœ œœœ œœ œœ œœ ˙˙ ..
˙˙˙ ...
134
&# œœ œœœ œœœ
134
& 444 F œœ œ œ œ œ œ œ œ œ œ œ˙˙ .. œ
134
?
&# FŒ œ œœ œ œ Œ
?# 44 F FŒ œ œ œ
œ œ œ œ œ œ œœ œ œ œ Œ
?#
? œœœ œ œœ œœœ œœœ
œ œœ œ œœ œ œ ___ ___
? ## 44 ŒŒ
44 Œ œœœ œ œœœ œœ œ ŒŒŒ
œœœ œ œœ œ œœ œœ ___ œœœ ___ œ œœ
œ œ
# œ œ ˙. œ œœ œ œ œ œ œ œ œ___œ ___ ___ ___
˙
___
.
˙. . œ œ ..
___
& # œ œœ œ œ œ
˙˙˙ .. œœ œœ œ œœ œœ œ œœ œœ ˙˙˙˙...
œ ˙. ..
& ## œ œ œœœ œœœ œ œ œ œ œ
œ
& # œ œœ œ œ
&
œ ˙ .
˙˙ . œ œ
œ œ œ œœ œ œ ˙˙ .. œ ˙ . ...
& # œœ œ œœ œœ
? œ œ œ œ œ œ œœ ˙
œ. œ .
...
.
?# œ œ œ œ ## œœ
œ œ œ
? ## œœ œ œœ
? œœœ
œ œ œœ # œ œ œ œœ œ
œ œ œ œœ ..
œ œ
?# œ œœœ œ œ œœ œ ## œœ œ
œ œ œœœ ___
___ ___
œ œœœ œœ ...
œ
œ ___
œ
# . œ œœ œœ œœ œ œœ œ œœ œœ ˙˙ .. œ œ œ
œ # œ œœ # œ œœ œ œ œ œœ ˙˙ ... œ œœ
___ ___
___ ___
& # ... œ œ œ œ œ ˙ . ˙ œœ
___ ___
# œ # œ
œœœ # œ œœ # œ œœ œœ œœ œœ œœ ˙˙˙˙...
& ## . fœœ œœ œœ œœ œœ œœ œœ œœ œœ ˙˙ .. œ
pœœ œœœ
& # .. fœ œ œœœœœ œ ## œœ œ ## œœ œ œ œœ œ œ ˙ ... p
&
&# .
? œ œ œ œ œ
œ œ œ œ œ˙ . œ pœ ˙
? # .... ffœœ œ œœ œœ œ œ œ œ œœ
? ## .. fœ œœ œ œœ œœ œœ œ œœ œœ œœœ œœ œœ œ œœ œœ œœ ppœ
?
? # .. œœ œ œœ œ œ œ œœ œ œ œ ___ œœœ ___ œœ œ œ
œ ___ ___ œœœ œ œœ
# œ œ œ œ œ œ œ œ ˙. œ
___ ___
œ œ œ œ
œ œ œ œ œ œœ œœ œœ œœ ___
& # œ œ œ œ œ œ œ œ ˙. œ ˙ .___ œœ
___ ___
& ## œœ œœ œœ œ œ œ œ ˙ . P œ
œ œ œ œ œ œ ˙. pœœ
& # œ œ œ œœ œœ œœ œœ œœ ˙˙ .. œ œ œ
œœ œœ œœ œœ œœ œœ œ œœ œœ œœ ˙˙ ..
&
?
&# œ œ œ œ P œ œ œ œ œ˙ . p œœœ œœ
?# œ œ œ œ œ œ P œ Pœ œ œ œ œ pœ œ
? # œ œ œ œ œ Pœœ œœ œœ œ œœ œœ œ œœ ppœ
œ
?
? ## œœœ œœœ œœ œœ œœ œœ œ œ œ œ œœ ___ œœ ___ œœ œ œœ œœ
œ œ œ œœ œ
___ ___ œ
___ ___
#
& # œ œœ œ œ œœ œ œ œœ œ œœ œœ œœ œœ œœ œ œœ œœœ œ ˙˙ .. ..
___ ___
___ ___
& ## œ œ œ œ œ œ œ œ ˙ . ..
œ œ œ ˙ .
#
& œ ____ œ œ
œ œ œ œ F
œ Fœ œ ____ œ œ œ
œ œ œœ œ œ œ œ˙˙ . ˙ . ...
&
LSS: ? # œœ œœcresc. œœœ œœœ____œ œœœ œœ____œ œœ œœ____ œ œ œœœ œœ œœ œœœ œœ ____
cresc.
& ˙ .
œ˙˙ .. œ œ .. œ .
Fœ œ œ œ œ œ
150
? # œ cresc. œ œœ œœ œ œœ F
œ cresc. œ œœ œ œ œ .
? b # œ œ
F œ œœœ œœœ ˙œ ..
Motives: cresc.
?b # c œ œ œ œ œ œ œJ œ J œJ J œœ œ˙ œœ œ
œ œ
& ? # œ œ œ œ œ œœœ ..
œ J œœ Jœ œœ œ œœ œœœ œ œ ___ œœ ___
œ œ œ œ œ ___
œ œ œ œ œ ___
___ ___
? b b c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ___ . œ___ œœœœœœœ

.
NCTs: 123
.
œ œ œ œ˙˙ b œ # œœ œ
___ ___
YT: œIHEwWbK2fBw
&‰ œ œ œ œ œ œ n œ œœ Œ Œ ..
1621
p
RN in B¯: ____ ____ ____ ____ ____ ____
. œ.
œ . œ.
œ . ____
œ œ.
b œ n œ œ.
HF: ____ ____ ____ ____ ____
? œ œ œ œ ..
LSS: ____ œ.
____ ____ œ.
____ ____
œ
____ ____ œ
Œ Œ
Figure 24.9.1: Handel, Gavotte, HWV 491
œ œ bœ œ
bb œ œ œ œ œ œ œ
Motives:
œ œœ œ œœ ˙ ˙
& J diagram:
Menuetto J
For the piece above,
J Jœ
complete the following diagram based on your
œ œ œ letters,
œ uppercase œ œ œ phrase labels
A
? œ œ and
œa œ œ œ œletters, œlabels
œ œcadences œ œtheœ abbreviations
œ b œ :/: œ using
/: b b œlowercase œ œ œ œ PAC,
analysis.
NCTs: Include section using
using ˙ :/
IAC,diagram:
Trio HC, DC, PC.
A
RN: ____ ____ ____ ____ ____ ____ ____
:/
HF: ____ ____ ____ ____ ____ ____ ____
/: a
:/:
Circle all of the terms that apply to the name of the form:
2. For the theme from first movement of Mozart’s Piano Sonata in A

137
major, K. 331, please fill in the blanks below the staves and diagram 137
# # Also, name the form.

68 œ . œ œ œœ j œj
œ œ œœ œ œœ œ œ œj œ . œ œ œ œ
137
the form.
& # ## ## 68 œ . œœ Jœ œ. Jœ œ œj œœ œ œ œJœ œ œœ œœj œ . œ œ œ Jœ
137
& ## # Jœ œ. œœ œ œj Jœ œ œJœ œ œœ œœj œ . œ œ œ Jœ

68p œ . œœ œ œ. œ œj œ Jœ œ œj œ Jœj œ
& ## 68p œœ . œ œj œ Jœj
œ. œ jœ Jœj
œJJj œœœ Jœœ œ œœœ œœœ œœ . œ œœjj œœ JœœJjj
&
? # # ## 6p œœ . œ œœjj œœœœ œœJj
œJœj œ. œ œœj œœœœ œœJj
œJœj
œ
œ
œj œ
œj œ œj J œ . œœ œj œœœ œœJœj
? ## 86p . œ œj œ œJœj œ. œ œj œ œJœj œ Jœj œ Jœj œ œ œœ . œ . œj œœ œJœj
86 œ . œ œ œœ œ œ œœ œ Jœ . œ
? ###
86 œ . œœ œ Jœœ œ.
œœ œ Jœœ œ Jœ œ Jœ
Jœ œ œ . ___ œœ .. œ œœ œœ Jœœ
Jœ ___
? ### J œ. J œ Jœ œ Jœ ___œ . ___ J
8 J J J ___ ___
## j j ___ ___œ œ . œ .
œ œ œœ œ œœj œœ œœjj œ ‰ .. œœ .. œœ œœ œœ œJœ œœ œ œ . œ œœ œœ œœ œœ.
& # ## ## œ.
œ. œœ Jœ œ
œ
œj œœ
œj œœj œœ œœjœ œœ ‰ ..
.. .. œ . œ œ œ Jœ œ œ œ . œ œ œ œ œ.
& ## # œ œj œ Jœj œ
& ## œ.
œ. œ œj œ Jœœj œ œj œ
œj œœ Sœœœj pœœœ œœœœœj œœœœ ‰‰ ..
..
.. œ . œ œ œ Jœ œ œ œ . œ œ œ œ œ.
.. œ œ œ œJ
& œ œj œœœœ œœJj œ Sœ pœœ œœœ œ œ œ œœ
? # # ##
? ##
œ.
œ. œ œj œ Jœœj œ
œ
œj œ
Jœj œ Sœ pœ j œ ‰ .. .. œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ
œ œ œœ Jœœ Jœ œ SJœ pœ œj œœ ‰ .. .. œ œ œ œ œ œ œ œ œ œ œ œ
? ### œ. Jœ œ Jœ œ ___ .. .. œ œ œ œ œœ œœ
? ### œ. œœ œ
J œ Jœ œ Jœ œ ___ œ ‰‰
œj ___
œj ___ .. ..
J J œ ___œ
## œ œ œ œœ œœjj œ .
___
œ.. œœ œ œ.. œ œœ œ œ œ œ
& # ## ## œ œ œ œ Jœ œ. œœ
___ ___
œ œ. œ œ œ. œ œ œœ Jœœj œ . œœ œ. œœ œ Jœ
& ## # œ œ œ œ. œ œ œ. œœ Jœœj pœ . œ œj œ Jœ œ. œ œj œ Jœj
& # # Sœ œ. Sœ Sœ Jœj
& S œ œ Sœ œ œ œ # œ. œœ . Jœœ pœœ . œœ
œ œœjj œœœ œœJj œ. œ j
œ œœj œœœ Jœœj
? # # ## Sœœœœ ‰ SSœœ ‰
Sœœ
Sœœ # œ.. œœ ... J pœœ . œ œj œœ Jœœœjj œ.
œ. œ œj œœ œœJj
Jœœj
? # # Sœœ ‰ œ ‰ Sœœ # Jœ œœ .. p. œœ œœœ Jœœ œœ Jœœ
? # # # œœ œœ # œJ ___ œ . œ. œ Jœ œ. œœ œœ
? ### ‰ œ ‰ Jœ ___ œ. œœ œ. œœ Jœ
‰ ‰ œ
J ___ ___. ___
J J
## j j j ___ œ___ j j œ œœ
___
œœj œœj œœ œ
& # ## ## œœ œj œœ œœj œœ œœœj œœœ œœj œœœ œ œ œ œœ œ œ ‰ ..
œjj œœ j œœj œœ œœ œ œJœ œ œ ‰ ..
& ## # œœjj œœ œj œ œœœjj œœœ .. œœœj œœœ Jœœj œœ œ
œœ œ œJœ œ œ ..
& # # œœ Sœœœ pœœœ œœ œœ . œœ fœœ Jœœ œœ œœ œ œJœ œ œœ
‰
.
& # # œœ
? œœj œœ Sœœ pœ œj œ . fœœ Jœœ œœ œJ œœ ‰
...
? # ## # œ Jœj SJœ pœ fœœ œœJ œœœ œ ‰
? ### œ Jœ œ SJœ pœ œj œœ .. fœœ Jœ œœ œJœ
Jœ
œ
œ
Jœ œœ
Jœ ___
œœ
‰ ..
..
? ### œ Jœ œ œj œ . Jœ ‰
J Jœ œ œj œ . Jœ œ Jœ œ Jœ ___ ‰ ..
œ
___
J œ J J ___
J
##
___ ___
& # ## ##
___ ___
& ## #
& ##
YT: vp_h649sZ9A
&# #
?
? # ## #
? ###
? ###
Day Two
3. For this Polonaise in F major by Mozart, please fill in the blanks below 131
the staves-andœ œdiagram

œ - œform.
œthe œ œ œ Also, œ œ. œthe
œ œ. name œ œ œform.
œ . . œ
131
. œ- œ œ œ œœ œœ œœ œ. œ œ ## œœ œ œ.. œ œœ œœ.. œ œ œœ œ œ œœ œ. œ œ œ. œœ œœœ

& bb 433 œJœ. œ-- œ œ
131
œ- œœœœœœ Jœ. œ œ œ œ #œ œ œ. œ œ œ. œœœœœœ œ. œ œ œœ. œ œ œœ œ œ œ

131
&b 43 Jœ. œ- œ- œ. œ œ œ. œœœœœœ

43 pJœœ. œœ œœœœœœ Jœ.. œœ œ œ œ œ #œ œ œ œœ œœ œœœ
œ œœ œ œœœ œ
&b œœ œ œœ œ Jœ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ -
&
?
?b
43 pœJ
43 pœœ œ œœ œ œœ œ œJœ œ œœ œ œœ œœ œœ œ œœ œ œœ œ œ-- œ œ- œ œ-- œœ
?b 43 pœœœ œ œœ œ œœ œ œ œ œ œœ œ œœ œ œœ œ œ- œ œ- œ œ- œœ
?b 43 œ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œ- œ œ- œ œ- œœ
b 4 œ œ œ œ œ œ
.
- œ œ œ œ œ œ œ- œ œ œ œ # œ œ œ.. œ œ œ.. œ œ œœ. œ. œœœœœ œ
& bb œ́ œœ- œ œ œ œ œ œ œ́ œ-- œœ œ œ œ # œ œ œ. œ œ œœ. œœ œ œ. œ. œ œ œ œ œ œ ..
&b Jœ́ œ- œ œ œ œ œ œ Jœ́ œ- œ œ œ œ # œ œ œ. œ œ œ. œ œ œ. œ. œ œ œ œ œ œ ..
fJœ́Jœ́ œœ- œ œ œ œ œ Jœ́ œ œ œ œ #œ œ œ œœ œ œ.. œ. œ œ. œ œ œ ..
&b
&
? fœœJ œœœ œœ œœ œœœ Jœ́œœJ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œœ. œ. œ. œ œœ ..
? bb fœœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œ œœ. œœ. œ. œ œœ ...
?b fœœ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œœ. œœ. œœ. œœ œœœ ...
?b œœ œœ œœ œ œ œ œœ œ œ œ œ œ œ œ .
œ .
œ. .
œ . œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ. . œ . œ œœ œœ. œ. œ œ œ œ ˙˙ œœ
& bb ... œœ .. œœ œœ œ.. œ.. œœ œ œ œ œœ œœ œœ œ œ œ œ œœ œ.. œœ. œ . œ œ œ. œ.. œ œ œ œ
œ
œ . œ œ œ. œ. œ œ œ œ
˙˙
˙˙ Jœœœ ‰‰
& b ... pœ . œ œ œ œœ. œ œœ œ œœ œ œ œ œœ œœ œ œ œ œ. œ. œ˙ . œ œœ œ ˙˙ Jœ
& b . p˙œ
& ... p˙œ œ ‰ œœ œ œœœ
œ œ œ œ œ œ. œ œ ‰ n œœ œ œ œ œJœJ œ b ‰œ‰ œ
? J
œ Œ Œ ˙œ Jœ n œ œœ œ œœ œ œœ b œ œ
b
? b .. p˙œ œ œ
œ ˙œ
œ
J ‰ œ Œ Œ Jœ ‰‰ nn œœ œ œ œ œ œ œ bb œœ œ
? b .. ˙œ
? b .. Jœ ‰‰ œ œ Œ
Œ
Œ
Œ
˙œ Jœ ‰ œ œ œ œ œ
J J œ œ œ
- œœœ œ- œ œ œ œ œ .œ œ œ. œ œ œ. . œœœœœ œ
& b œ́J œœ- œ œ œ œœ œœ œœ œ́J œ-- œœ œ œ œ ## œœ œ œ.. œ œœ œœ.. œœ œ œœ.. œœ. œ œ œ œ œ œ ..
& b Jœ́ œ-- œœ œœ œœ____
LSS: b œ́ œ____ œ œ œ œ́ œ-____ œ œ ____
œ œ #œ œ œ. œ œ œ. œ œ œ. œ.
œ œ..
œ____
œ. œœ œœ. œœ œœ œœ ...
.
& b fœ́œJ œ œ œ œ œ œœ œ Jœ́œ́œJ œœ œœ œ œ œœ œ # œœ œ œ œœ
150 ____
& b fJœ œ œœ œ œœ œœ œ Jœœ œœ œœ œ œ œœœ œ œ œ œœœ œœ œ œœ œ œœœ. œ. œ. œ œœ ..

œœ.œ œ. œ œ ˙ œœ ...
?
Motives:
&? b b cfœœ œ œœ œ œœ J JJ J
? b fœœœ œœJ œœœ œœ J œœœ œœ œœ œœ œœ œœ œœ œœ
œœ œ ˙œ œ œ œœ.
œœ œ œ œ œ œœ. œœ. œœ. œœ œœœ ...
?b œ œ œ œ œ œ œœ œ œ œ œ œ œ œ .
b œ œ œ œ œ œ œ œ œ œ .œ
? bb c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
NCTs:
&b
& bb
&b
YT: 6J2OpIjODTU
&in B¯:
RN?
b
HF:?
____ ____ ____ ____ ____ ____
? bb
. . .
____ ____ ____ ____ ____ ____ 123
?b
œ œ œ b œ # œ œ
‰ œ24.9.3: œ œ œ ____ ˙˙____ n œœ ____ œœ Œ Œ
œ œMozart, ..
1621
& bb & œ
LSS: ____ ____ ____ ____
Figure
œ œ œ œ
Polonaise in F major
& bb œ œ œ œ œ œ
&b
Motives:
bœ œ œ œ œ p
&? &b J J . . . . œ œ
Jœœ J b œœ n œœ œ. ˙
œ œ . . ˙
b œ
œ œ
œ œ
œ
?
? bbthe piece? above, complete the following diagram œ Œ Œ ..
œ. œsection œ.using œ œ œ labels
For based on your
?b œ œlabels œ b œ œ œ œ œ œ œ
? œ œ
b b œlowercase œ œ
œ œ letters,œ and cadencesœ œ œ œ œ
NCTs:
œ œ PAC,
analysis. Include uppercase letters, phrase
using using the abbreviations ˙
IAC, HC, DC, PC.
RN: ____ ____A ____ ____ ____ ____ ____
HF: ____ ____ ____ ____ ____ ____ ____
/: a :/: :/
A B
/: a a'
:/:
bROUNDED BALANCED
c :/
TWO-REPRISE SECTIONAL CONTINUOUS BINARY d TERNARY
Menuetto diagram:
Trio diagram:
G: HC D: PAC e: PAC G: HC PAC
m. 4 m. 8 m. 12 m. 16 m. 20
4. For this Allegro in B–flat major (K. 3) by Mozart, please fill in the 127
blanks below the staves and diagram the form. Also, name the form. 127
œ
bbb Allegro
42 œJ œ j j œ
Allegro 127
œ œ œ ‰ œ ‰ œ ‰ œ œ
& œ œœ œœ œ œ œ œ œ œ œ œ
25
422 œJ œœ œj œj œJ
Allegro 127
œ œ.. œ.. œ.. œ.. œ œ
& bb Allegro œ ‰ œ. œ. œ ‰ œ. œ. œ ‰ œ nœ œ
25
œ œj œj œJ œ
& bb b 42 ppJœJ œ
œ œ œœ œ œ ‰ œœ... œœ... œ.. œ.. œ ‰ œœ... œœ... œ.. œ..œ ‰ œ nn œœ œ
25
& 4 œœ œ ‰ œœj œœ. œœ. œœœ ‰ œœj œœ. œœ. œœœ ‰ Jœ œ œ

25
? 2p œ œ œ œ œJ œ.. œ.. œ. œ. œ œJ œ.. œ.. œ. œ. œ Jœ œ œ n œœ

? bbb 24 p‰ œ œœ œ ‰ œJ œ.. œ.. œ.. œ.. œœœ ‰ œJ œ.. œ.. œ.. œ..œœœ ‰ œJ œ œ
? bb 42 ‰‰ œ œ œ ‰ Jœ œ œ œ œ œœ ‰ Jœ œ œ œ œ œœ ‰ œJ œ œ
? bb 42 ‰ œ ‰ J ‰ J ‰ Jœ œ œ
b 4 ‰ ‰ ___ ___
___ ___
‰ J
___ ___
b j j . .œ œ
œ œœ œœ n œ j
___ ___
& bb œ ‰ ‰ nœ ‰
esc.
œ œ œ œœ ... œœJJ
8
œj œ œ œj .. œj
j
& bbb œ œœ ‰‰ œ #œ œ ‰ œ ## œœ œ œœ œ œœ nœ. œ œ œ nœ nœ ‰
esc.
œ
8
œj
œj œ ## œœ
œ œ ‰ œj nœ. ... .. pJœ œ œ œnœ nœ ‰ œj
esc.
( )
œj
œœ ‰ œ
8
& bb œj œ œ ‰ œj œ # œ œ œ œ ((œ)) nœ. .. .. pJ nœ n œœ ‰ œj

esc.
( )
œœ œ œ
8
œj
&
? œ œ œ #œ œœ œ œ œ .# œ œ œ œ œJ n œœ . œ œ
? bbbb œ ‰ œJ œ
œ œ œ ‰ œJ œ.
œ. œJ œ. .
..
.
.. pp‰‰ ∑ œ œ
? bb œ ‰‰ œJ
Jœ œ œ œ ‰
‰
œJ
Jœ œ. JVœ œ .. ... ... ‰
∑
∑ œ
œ œ
? bb œ ‰ J ‰ J ___J œ
___ .. .. ‰ ∑ œ
V
___ ___
V ___
___
b œ œ œ œ œ j œ œ œ
V ___
œœ œ œ
___
& bb œ œœ œœ œœ œœ ‰‰ œ œœ œœ ‰ œ œ œ œ œ ‰‰ œœJJ œ œ œ
15
œJ œ œ œj œ
& bbb ‰ œ œ œ
15
œ œ œ œ œ ‰ œJ œ œ
œ œ œ œj œ œ œ œ
œ œœ œ œ ‰‰ JœJ œœ
‰ œ œ œ œ
15
& bb œ œ œ ‰ Jœ œ œ
œ œ œ ‰ œj œ œ œ œ
15
&
? J œ œ œ œ
LSS:? bbb œ ____
n œ œ Œ ∑ œ ____œœ Œ
œ ____ œ œ
b œ œ œ ŒŒ ____∑ œ œ œ œ ŒŒ œ œ
œ nn___
150
? œ œ___ ___ œ
____ ____
? bbbb œ n___œ œœœ œ Œœ ∑
œœ∑ œœ œ
œ
œœ
œ œ œ Œ œ
b œ œœ œ ___ JJœ J œ œ œ œ œ œ
Motives:
˙ œ ˙
___
& b c J ___
___ J ___
J
___ ___
___ ___ ___
bbb œ œ ‰ œjj œ œ œ. œ. œ ‰ œjj œ œ œ. œ. œ ‰ œ œœj œœ n œ œœ œœ œ ‰ œ œ œ œœ . .

___ ___
j
œ nn œœœœ œœ œ œœœ bb œœœ. ... œ
22 esc.
& bbb œœ œ ‰‰ œj œ.. œ.. œœ.œœœ. œœœ ‰‰ œœjœ œ..œ œ..œœœ. œœ. œœœœ ‰‰œœœJJ œjj œœ nnœœœ œœœ œœœ œ‰‰ œœJJœ
&
22
œ œn œ œ œœœ (œ) œb œ . œ..

esc.
( )
?& œ œœ œ œ œ œ
NCTs:
&b bb cœœ œœœ‰ œœœjœ œœ.... œœ....œ œ... œ... œœœ ‰ œœœj œœ.... œœ.... œ... œœ... œœœ ‰ JœJ œ œ n œ œ œ œœ ‰ JœJ
22
b
esc.
œœ
( )
œ n œ œ œ œ b œ . ..
22 esc.
( )
? bb J œ œ J œ œ œ œ
? œ ‰ œJ œ. œ. . . œœ ‰ œJ œ. œ. . . œœ ‰ œ œ œ œ ‰ œ œ. œJ œœ .. ....
? bbbb œ ‰‰ Jœ œ. œ. œœ. œœ. œœœ ‰‰ Jœ œ. œ. œœ. œœ. œœœ ‰‰ œœJJ œœ œ œœ ‰‰ œœJJ œ.
œ. œJ œ . ..
RN? b ____
in bB¯: ‰ J ____ ‰ ____ J ___ ‰ Jœ ____ œ œ ‰ Jœ œ____
. Jœ ___
J œ . ..
___ ___ J J
___
____ V
___
V
___ ___
HF: ____ ____ ____ ____
___ ___ ____ V ___
____ ___
b
V ___
& bbb
___ ___ ___
& b
LSS:& b b ____
& b ____ YT:____
____ t5R0ORjKloE ____ ____ ____
? bb
?
? bbbbb œ œ œ œ œ œ œ œ œ bœ œ
Motives:
œ œœ œ œœ ˙
&?b b b J J J Jœ ˙
œ œ œ bœ œ œ œ œ œ œ œ œ
& bbbb œ œ œ œ œ œ
b
?& œ œMozart, œ in B–flat
œ Allegro œ major
œœœœ˙
NCTs:
b b œ Figure 24.9.4:
& bb b
&
?
? bbbb
RN:? b____
b b____ paper,
? scratch ____ ____ ____ ____ ____ ____
On
HF: b ____ create
____ a diagram
____ of ____
the form.
____Include section la-
____
bels using uppercase letters, phrase labels using lowercase letters, and
cadences using the abbreviations PAC, IAC, HC, DC, PC.
TWO-REPRISE SECTIONAL CONTINUOUS ROUNDED BALANCED BINARY TERNARY

Day Three
5. Please fill in the blanks below the staves and diagram the form of “Af- 129
129
129
ter the Ball” from Alexander Gretchaninoff’s Children’s Book, Op.98.
Also, name the form.
# #Tempo œ
Tempo di Mazurka
# 3 ˙ # œ œœ . œœ œœœ œœœ œœ œ˙ .˙˙˙ # œ˙ .˙˙˙ # œ œœ . œœ
di
di Mazurka
# # 3 ˙ ˙˙ ˙˙˙ ...
œœœ ... ## œœ œ .. JJœJ œœœ ... ## œœ œ .. JJœJ
Tempo Mazurka
& 4
3 œ˙ .˙
& # 44 œœ˙˙ ..
& ### œœœ˙˙˙ ..˙ œœ˙˙ .. ## œœ˙˙ .
F . .
F ˙˙
F
˙˙
? ## # 33 ˙ œœ ˙˙ œœ ˙
### ˙˙ ˙˙˙ œ ˙˙˙ œ ˙˙˙ œ ## ˙˙˙ ˙˙˙
?
? ### 443 œ œ œœœ ˙ œœ œœ œœ # ˙ œœœ ˙ œ
4 œœ
__________ ________ __________ ___
__________ ________ __________ ___
__________ ________ __________ ___
# j jj œ j
& ##### ... œœœ œœ .. œœjj œœœ œœœ .. œœjj œœœ œœ œœ .. œœjjj jj œ j
œœœ œœœ .. œœjj
&
& . œ. œ œœœ ... œœœjœœ . œ ˙˙˙ œ œ. œ œœœ ... œœœjœœ . œ ˙˙˙ ...
ff . œœ.. .œ. œœœ... ppp œ. œœ...
? ## # .. fœ œœœ.. œ. . œ.. . .
œœœ.. . œ . œ.. œœ ### ˙˙˙ ...
?
? ### .. œœ.. œœœ.. œœ. ŒŒŒ œ.
œœœ.. œ œœœ.. ŒŒŒ œœœ.. œœ. œœœ.. œœ. ŒŒŒ ŒŒŒ œœœ˙˙˙ œ ˙.
. . .
_________ _____ ______ ___
150 LSS: ____ ____ _________
____ _____
____ ____ ______ ___
____
_________ _____ ______ ___
œ œ œ
&b b##### cœœ˙˙œ..˙˙ œ #œœ˙ .˙˙˙œ œ œœ .. ##œJœœ œœœ ... œJJœœJ œœœœJ œœœœ œœ œJ œœ˙˙œ..˙˙ ˙ # œ˙ .˙˙˙ œ œœ ..œ## œœ œœœ ...œ œJJœ ˙˙˙˙ ... ...
Motives:
# ˙ œ ˙ œ
&&
& œ˙J. #Jœ˙ ..
# œ˙ œ. # œ J œ˙ . # œ˙
# œ˙ .. œ. # œ J .
p˙
p ˙ ˙ ˙ ˙ ˙.
# # p˙˙ œœ ˙˙˙ œœœ œ### ˙˙˙ œ œœœ œ ˙˙˙ œ œœ œ ˙˙ œœœ œ œ˙˙˙ œ œœœ œ### ˙˙˙ œ œœœ œ ˙˙˙ ... œ œ.. œ
rall.
rall.
?
rall.
? #
? b b #c œ œ œ œ œ œ œ œ œ œ œ œ ..
NCTs:
? # # œ œ œ œ œ œ œ œ
__________ ________ __________ ___
__________ ________ __________ ___
__________ ________ __________ ___
RN in #B¯: ____
& ##### ____
____ ____ ____ ____ ____
HF:&
& ____ ____
YT: 3AeFVFC1zy0
____ ____ ____
?? ## #
LSS: ? ### ____ ____ ____ ____ ____ ____ ____
œ œ œ bœ œ
b œœ œœœœ
Motives:
b œœ œœœœ ˙ œ ˙
& ##### J J J J
&
& #
&
? œ œ œ b œ œ œ œ œBook,
œ œ œ œ œ œ œ Children’s œ œ œ Op.98,
œ œ œ No. 13, “Af-
b œ œœœœ˙
NCTs:
œ
24.9.5: Gretchaninoff,
? #
ter?bthe
### œ Ball”
Figure
? #
#
RN: ____ ____ ____ ____ ____ ____ ____

On
HF: scratch
____ paper,
____ create
____ a diagram
____ of ____
the form.
____

6. For the theme from Brahms’s Variations on a Theme of Haydn Op.

56a (the theme is also known as “St. Anthony’s Chorale”), please fill
in the blanks below the staves and diagram the form. Also, name the
form.
b . œœ œ œ œ œ œœ œ œœ œ œœ œœœ .. œœ œœ
& bb bb 422 œœœ .. œœœ œ œœ œœ . œœ œœ œœ œœ œ œœ
138
œœ œœ œœ œœ œœ œœœ .. œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ ..
138
442 œœ .. œœ œ œœ
138
&
&b œœ œœ œœ œœ œœ œœ œœ œœ >œœ >œœœ
138
pœ . œœ œ œ œ œœ œ œœ œœ .. œœ œœ œœ œœ œœ œ œ œœ fœœ .. œœ
œ j œ œœ œœ œ œ >>œ >>œ
? bb 24 ppœœœ œ œœ œ œ. n œjj œ Œ
ffœ
œœ œ œ
?
? bb bb 4422 œœ œ #œ œ nœ œœ .. nn œœ œœ œ ŒŒ
œœ œœ œœ œœ ## œœ œœ nn œœ œœ .. nn œœ œœ œœ
œœ œœ œ
œœ œœ
œœ œ œœ ___ œ
œœ œœ œœ
œ ___
> >
___
___ ___
___
j
___ ___
b œ>>œœ >>œ
& bb bb œœ œœœ .. œœœ œœ œ œœ
œœ
œœjj ‰ ..
..
..
.. œ˙ . œ œ œ b n ˙œ˙ .. œœ œ œ b œ˙˙œ .. œœ œœ œœ œœœ œœœœ œœœ
œ
&
&b œœ œ œœ œœ .. œ œœ œœ œœœœ
œœ ‰‰
. . ˙œœ˙ .. œœ œœ œœ b n ˙œ˙˙œ . œ œœ œœ b ˙œ˙ . œ œ œ œœœ œœ œœ
œœ œœ œœ œœ . œ œœ œœœ œœ b n ˙˙˙ b˙ œœ œ œ
œ œ p˙˙
? b œ #œ œ nœ œ œ .. .. pp˙ ˙ ˙ œœœ
? b œœ ## œœ œœ nn œœ œœ œœ œ œ œ œœ ˙˙ ˙˙ ˙˙
? b bb œœ .. .. œœ œœ œœ
b œœ ## œœ œœ nn œœ œ œœ œœ
œ œœ œœ œœ . . ˙˙ ˙˙ ˙˙ œœ œœ œ
___œœ œ
œœ ___ ___ ___
œ
> ___>
___ ___ ___ ___
>œ
___ ___ ___ ___
œœ .. œœœ œœ œœ >œœ
___ ___ ___
b œ. œ œ œ œœ .. œ œœ œœ >>œœœ >>œœ œ>>œ >>œœ œœ. œ œ œ

œœœ. œœ œœ œœ
& bb bb œœœ .. œœ œœ œœ œœœ .. œœœ œœ œœ œœœœ .. œœœ œœœ œœ œœ œœ œœ .. œœœ œœ œœ œœ œœ œœœ œœ œœœ
& œœ . œ œ œ œœœ .. œ œ œ œœ œœ œ. œ œ œ œ œœ œ œœ œœœ... œœ œœ œœ
& b πœœœ .. œœ œœ œœ œœ .. œ œœ œœ œ . œ œœ œœœ œœ œœ f
? bπ œ œœ œœ œ œœœ œœœ œœœ ffœ œ œ #œ œ nœ
b b πœœ œœœ œœœ œ œœ n œœ ‰ Jœ œœ œ œ œœ œ œ
?
? bb œ œœ œœ œœ œœ œœ nn œœ ‰‰ œJ œ œœ œœ œœ œœ œœ ## œœ œœ nn œœ œœ œœ œ
150 LSS: b œ ____ œœ ____ œœ _______ J œœ
____ ____ œœ œœ œœ nn œœ
œœ ## œœ____ œœ œœ ___ œœ
b c œœ œœœœ œ œ___
___
œ œ ___ œ
J JJœ J œ ˙ œ œ œ ˙ ___
Motives: ___ ___ ___
___
b
___ ___
& ˙ Jœ œ œ J ˙œ œ œ ˙ œ œ œ ˙œ œ œ œ.. œ.. œ.. œ.. ˙

U
›
1. 2.
b . . U
b b œ˙˙œœ. œ œœ œœ ˙˙œ . œœ œ œ œ œ œ˙˙œœ.œœ œœœœœ ˙˙œœ. œœ œœ œœ œ œ œœœœ. œœœœ. œœœœ. œœœ. œ ˙˙˙ œ .. œ U
›
1. 2.
2.
›œ œ
1.
2.
&
1.
?& bbb b œœ.. œ œœœ œœ œ ˙œ˙ . œœ œœœœ œ œœ œœœ.. œœ œœ œœœ ˙œ˙ . œœ œ œ œœœœ œœœ œœ œ œœ œœœ ˙˙œ ..œ π› › œ
π . π›œ
NCTs:
&b cf œ œ œ
f π
. smorz.
. . πU π˙
? b b fœ˙ . œ bb œœ œœ œ . œ œ œ œ œ œ . œ b œ œ œ . œ œ œ œ œ dim. œœ.. π
dim. smorz.
˙œœ .. œ œœ œ œœ œ ˙œ .. œœ bb œœ œœ ˙œœ .. œ œœ œ œœ œ œœœ.. œœœ.. œœœ.. .

œœ. ˙˙˙ ...
›
U
dim. smorz.
œœ b œ œ ›
? bb œœ˙˙ ..____
? U
›
dim. smorz.
RN in bbB¯:
œ œ œ ____
˙˙____ ˙œ˙ ˙˙ œ œ ____
____ œ œœ œœ œœ œ ˙____ . ›
›
___ (tonic prolongation follows cadence)
HF: ____
___
___
____
(tonic prolongation ____cadence)
follows ____ ____ ____
___ (tonic
(tonic prolongation
prolongation follows
follows cadence)
cadence)
bb
LSS: & b bb ____
&
&b
____ ____ ____ ____ ____ ____
œ œ œ bœ œ œ
YT: 3EbkqX94ng8
œœœœ
? bb œ
Motives:
?b
&?b bb bb œJ
œœ œœœœ ˙ ˙
J J J
? b
NCTs:
œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ 24.9.6: Brahms, Variations on a Theme of Haydn,
Figure œ Op. ˙56a
RN: ____ ____ ____ ____ ____ ____ ____

On
HF: scratch
____ paper,
____ create
____ a diagram
____ of ____
the form.
____

Click here to download the review sheet for material studied prior to this
chapter.
Chapter 25
Sonata and Rondo Forms

139
œ œ œ œ œ œ ˙. .
25.1 Sonata
#
Form m.1
3 œ
& 4 .. œ œ œ ˙ . .
Sonata form, also œœknown
œœ asœœ “first–movement
œœ
? # 43 .. œ form, œor formal
form,” is “[t]he most important
principle of musical type, from the Classical period well into..
the 20th century,” according to the Grove Music Online. The purpose of this
chapter is to serve V6 V7 to formal,
G: Ias an introduction I thematic,
I viand harmonic aspects
D: ii I64 V7 I
of sonata form. We will focus on sonata form as it existed during the height
of the Classical era. Further and more detailed study of sonata form occurs in
higher–level #music theory courses.
mm. 9-10 mm. 7-8 in G major
& .. œ ˙ œœ˙ ..
? # .. ..
25.1.1 Diagram
G: V65 ofI Sonata
IV Form
I V7 vi I6
4
V7 I
Below is a generalized diagram of sonata form, which serves as our starting

point. Real–world examples will contain differences and elaborations.
EXPOSITION DEVELOPMENT RECAPITULATION
PT transition ST (CT) Fragmentation & Retransition PT transition ST (CT)

sequencing
In major: I modulating V V V modulations V pedal I tonicizations I I
In minor: i modulating III III III modulations V pedal i tonicizations i i
PT = Primary Theme
ST = SecondaryTheme
CT = ClosingTheme
It is fairly common for a piece in sonata form to have multiple secondary

themes (ST 1 , ST 2 ). In some sonatas, the development section features new
material. Some sonatas will not have a closing theme. As we work with real
world examples, you will see the ways in which composers realize sonata form.
While the diagram above designates three large sections (exposition, devel-
opment, recapitulation), repeat signs in sonatas from the classical era designate
the sonata as a two-reprise form—the exposition repeats, then the development
and recapitulation repeat as a single unit. Douglass Green, in his book Form
in Tonal Music, notes the sonata’s evolution from and synthesis of rounded
binary and balanced binary:
335
336 CHAPTER 25. SONATA AND RONDO FORMS
The typical sonata form, as it appeared in the 18th century, is

a combination of rounded and balanced binary. It begins the
return with a restatement of the opening of part one, as in the
rounded binary, and it closes with a restatement of the final
sections (second and closing themes) of part one transposed to
the tonic, as in the balanced binary.
25.1.2 Sonatina Form

While “sonatina” is sometimes understood to mean a short sonata or an easy
sonata for beginners, in terms of form, sonatina form is sonata form with-
out the development section. Sonatina form is sometimes encountered in the
second, slow movement of a larger work like a symphony, as well as in over-
tures. A familiar piece in sonatina form is the “Miniature Overture” from The
Nutcracker by Tchaikovsky.
YouTube: https://www.youtube.com/watch?v=JRXIDEpquCg
Figure 25.1.1: Tchaikovsky, The Nutcracker, “Miniature Overture” (1892)
Exposition Recapitulation
PT ST CT PT ST CT
0:00 0:49 1:28 1:40 2:30 3:09
25.1.3 Sonata Principle

Important to sonata form is sonata principle, which Charles Rosen discusses
in his book Sonata Forms.
The exposition of a sonata form presents the thematic material and
articulates the movement from tonic to dominant in various ways so
that it takes on the character of a polarization or opposition. The
essential character of this opposition may be defined as a large–scale
dissonance: the material played outside the tonic (i.e., in the second
group) is dissonant with respect to the center of stability, or tonic.
Sonata style did not invent this concept of dissonant section, but
it was the first style to make it the generating force of an entire
movement.1
Rosen continues:
The dominant is conceived as a dissonant tonality in the exposi-
tion....The polarization, in fact, leads to the concept of a dissonant
section, which raises the dissonant interval or chord to a higher
power: that is, a simple reintroduction of the tonic key will no
longer serve as a resolution, but the section outside the tonic needs
to be resolved as a whole.2
1 Sonata Forms, Revised Edition, 1988, p. 229
2 Sonata Forms, Revised Edition, 1988, p. 244
25.2. THE FOUR STRUCTURAL FUNCTIONS IN MUSIC 337
25.1.4 The Monothematic Sonata
Haydn was especially fond of restating the Primary Theme in the dominant
where the Secondary Theme would normally occur. This reinforces the idea
that the tonal design of a sonata was as important as thematic design.
25.2 The Four Structural Functions in Music
In the “Structural Functions” chapter of A Practical Approach to the Study

of Form in Music, Peter Temko and Peter Spencer enumerate four structural
functions.
1. Expository function
2. Transitional function
3. Developmental function
4. Terminative function
25.2.1 Expository Function
Music expressing expository function maintains a stable tonal center and

clear melodies, usually with well–defined phrases. The vast majority of the
music we encountered in binary and ternary form in the last chapter was ex-
pository in nature. Additionally, the primary and secondary themes in a sonata
form are usually have expository function. Below is the secondary theme from
the first movement of Mozart’s Piano Sonata, K. 333.
47
47
aa
Ÿ
b j
& b c œœ .. œ œ œ œ jœ j œ bœ. œ
632
œ œ.
632
œœœ œ JJ œ œœ JJ œ œœ œœ œœ œœ œ œ
œ. œ.. œ. œ. œ œ.
? b c œœ .. Ó Œ ˙ œ n œœ œ œœ œ œœ œ œ
Œ
b ˙ ˙
˙ IAC
IAC in B¯¯
in B
bb
b j j
&b œ œ œ œ œ œ œ œ œj œ œ Œ
636
& œœ . j
636
j
## œœj nœ œ œ œ œ œ j
œœj œ. œj œ œ n œ œ # œ œ œ n œ œ
? bb ‰ œ œ Œ ‰ œ œ œ œ œ œ œœ
œ œ Œ œœ œ œ œ Œ
œœœ œœ œ œ
HC
HC in B¯¯
in B
aa
b œ .. œ œ œ œ. œ. . œ œ. œ œœ œ œ œ œ œ œ nœ bœ
œ œ œ œ
& b œœœ .. œ œ J œ œ œ œ
640
640
˙ œ
? bb œ œ Ó Œ ˙ œœ œœœ œ Œ ?
n œœ œœ ?
&
& œ œ
IAC
IAC in B¯¯
in B
b'
b'
œ œ œ œ œ œ b œ œ œœ œ œ œœ œ œ œ œ œ œœ œ œœ œ œ œ œœ œ œœ œ œ Ÿ
bb œ . œœ n œ œ œœ œ œ œ.œœ œ Œ
644
&
644
œ œ. œ. œ œ
? bb ‰ œ œ.
œ œ œœ œ
œ œ œ œ œ
œ
œ œ œnœ œ œ œ œ
PAC
PAC in B¯¯
in B
YT: PmO3Wlono6w
B¯¯::
B ____
____ ____
____
____
____ ____
____
____
____ ____
____
Figure 25.2.1: Mozart, Piano Sonata, K. 333, I, Secondary Theme
____
____ ____
____
Notice the perfect authentic cadence that closes off this four–phrase par-
allel double period within the larger sonata form. Cadences are important
demarcations within a form.
25.2.2 Transitional Function

Music of transitional function moves from one tonal center to another and
often features a contrasting accompanimental texture more rhythmically active
than preceding expository material. Tonicizations may also occur within a
transition. Transitions are sometimes called bridges. Mozart and Haydn often
ended their sonata form transitions with a half cadence followed by a rest to
signal that the secondary theme was about to commence. Again, notice the
importance of cadences to demarcate the form.
Allegro con brio 141
œœ... œœ... œœœjjj œœœ

. Theme œœ... œœ... œœ...
œœ...
brioj
œœ œœœ... Theme œœ... œœ .. œœ œ.. œœ...
Allegro con
Primary brio
Theme 141
œœ .. œ œœ... œœ... œœ... œœ... œœ .. œœ œœ .. œœ œ.. œœ...
Allegro con 141
œ
Primary Theme
œ .
CC œœœ ... œœœ œœ. œœœ.. œœœ.. œœj œœ
C œœ.. œœ.. œœ.. ŒŒ ŒŒ œœ .. œœœ œœ ... œœœ œœœ...
Primary
& œœ .. œœ œœ.. œœ.. œœ .. œœœ œœ.. œœ ... œœœ œœœ...
Primary
& œ œ œ œœ.. œœ.. œœ.. œœ.. ŒŒ ŒŒ œœ..
Primary Theme
& C œ . œœ œ. œœ ... œ œ œ œ œ. œ œ œ
& C ppœ . œœ...
& Z
Z œœ... œ..
œœ..
œ..
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œœ.
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œœ... œœ.. Œ Œ œ œ
? C p
pŒ œ
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. Z œœ.. ŒŒ ÓÓ œœœ. œœœ. œœ. œœ. œœœ.. ŒŒ ÓÓ ŒŒ ŒŒ
?
?
? CC ŒŒ œ ŒŒ ÓÓ Z
p œ œœ ŒŒ ÓÓ œœ œœ œœ œœ œœ ŒŒ ÓÓ & œœ ŒŒ œœ ŒŒ œœ. œœ ŒŒŒ œœ ŒŒ
ŒŒ
? CC ŒŒ ŒŒ ÓÓ Œ Ó œ Œ Ó
&
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&
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j
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œj
& œœ ŒŒ ŒŒ œœ.. œœ.. œœ..
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&
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œ œ œ œœ œœ. œœ. œœ. œœ.
&
& œ œ œ Œ Œ œ. Z
Z
3 Z 3Z
3 Z 3
& œ œ 3œ 3œ 3œ 3œ 3œ 3œ 3œ 3œ 3œ 3œ 3œ 3œ
œ3œ 3 œ
œ 3œ 3œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 œ œ 3 œ œ 3 œ œ 3 œ œ 3 œ œ 3 œ œ 3 œ œ 3 œ œ 3 œ œ 3 œ œ 3 œ œ 3 œ œ œ3œ œ œ3 œ œ 3 œ œ 3 œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3
&
& œ œ œ œ œ œ
œ œ
œ œ œ
œ œ
œ œ œ
œ œ
œ œ œ
œ œ
œ œ œ
œ œ
œ œ œ
œ œ
œ œ œ
œ œ
œ œ œ
œ œ
œ œ œ
œ œ
œ œ œ
œ œ
œ œ œ
œ œ œ œ
œ œ œ œ
œ œ
œ œ œ œ œ œ œ œœ œ œœ œ œ œœ œ œ œ œœ œ œ œœ œœ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
œ œ
& œœ.. œœ.. œœ.. œœ.. œ œœ œ œ œœ œ œ œœ œ œ œœ œ (Primary œ œ œ
œ œ
œ œ œ œœTheme
œ œ
œ œ œœ œrepeatsœ
œ œ œ œwith
œ œ œ
œ œ œtriplet
œ œ
œ œ œaccompaniment)
œ œ œ œ œ
œœ.. œœ.. œœ... œœ...(PAC) œ œ œ œ œ œ œ œ œ œ œ œ œ œ
. . (PAC)
(Primary
(Primary Theme Theme repeatsrepeats with with triplet
triplet accompaniment)
accompaniment)
(PAC)œ.. .. œœ œ.. œ . œ œ.. œ . œ œ. œ.

.. .. œœ... œ.. œ.. ˙˙ .. œœ .. œœœ
.
(Primary Theme Theme repeatsrepeats with with triplet
triplet accompaniment)
accompaniment)
œ œ œ
(Primary
œ
(PAC)
.. ŒŒ ŒŒ œ .. œœ œœœ... œœœ .. œœ œœ.. œœ .. œœœ œœ.. œœ .. œœ œ.. œ..

(PAC)
& œ œ
&
&
&
œ
œœ. ŒŒ ŒŒ œœœ .. œœ œ œ . œ œœ. œœ .. œ œœ. œœ .. œœ œœœ.. œœœ.. œœ.. œœœ.. œœœ... œœœ... ˙˙˙ ... Fœœœ ... œœ
œ
& Œ Œ œ. œ œ F
F
F
F
& Œ
Œ Ó
Ó œ œ œ œ b
b ˙
˙
3 3 3 3 3 3 3 3 3 3 3 3
& Œ Ó 3œ 3œ œ œ œ œ œ œ œ œ œ œ ˙ b ˙
œœ œœœ œœœ œœ œœœ œœœ œœ œœœ œœœ œœ œœœ œœœ œœ œœœ œœœ œœ œœœ œœœ œœ œœœ œœœ œœ œœœ œœœ œ œœ œœœ œ œœ œœœ œœ œœœ œœœ œœ œœœ œœœ ˙w˙w˙w bb ˙˙
3 3 3 3 3 3 3 3 3 3 3 3
& œ Œ Ó
3 3 3 3 3 3 3 3 3 3 3 3
& œœœ... Œ Ó
&
3 3 3 3 3 3 3 3 3 3 3 3
œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œ œ œœ œ œ œœ œœ œ œœ œœ œ œœœ œœœ œ œœœ œœœ œ œœ œ œ œœ(PAC) œ œ ˙ww

3 3 3 3 3 3 3 3 3 3
œ.. œ œ œ œ œ œ œ œ œ œ œ œ(PAC)
œ.
œœ... œœ .. œœœ n œ. œ . œ œ. œ . œ œœ... œœœ ... œ œœ... œœœ ... œ œ. œœ .. œ transition .
(PAC)
. . . œ œ œ œ œ . œœ.. œœ œœœ œœ œœ œœ
(PAC)
œ œ œ œ . œ
transition
œ œ œ œ
(PAC)
& œ . œ . œ . . œ œ. œ . œ œ
œ.
. œ . œ œ. œ . œ . œ . .
œ œ. .
œ œ œ œ œ œ œ.
. .
œ
œ œ . nnn œœœ.. œœœ .. œœ œœ.. œœ .. œ œ œ œ œœ œœœ.. œ . œœœ œœ.. œœ.. œœ.. œœ œ5œœ œœ œœ œ. œœ.. œœœ... œœœ œœ5œœœ œœœ œœœ
œ . œ . œ n œ. œ œ œ. œ œ. œ . œ œ. œ . œ .
œ œ. .
œ œ œ œ œ .
œ
transition
& . . œ œ œ œ
transition
&
transition
&
& pp 3 3 3 553
b ˙ p
p
5
& ˙˙ ˙ ˙ ˙ p 3œ 3œ 3œ 3 œ 3œ 3œ 3œ
3 œ
53
b ˙
3 3 3
& ˙ ˙ œ œ
3œ œ 3œ œ 3œ œ œ 3 œ œ œ
3œ œ 3œ œ 3œ œ œ3 œ
53 53
w ˙ w b ˙ w ˙ œ œ
3 3 3 3 3 3
˙ ˙ ˙ œ œ œ œ œ œ œ œ
5 53
&
& w˙w ˙
w ˙
˙˙ w
˙ b
b˙˙ ˙
w
˙w ˙˙ ˙ œ œ œ
œ œœ œ œœ œœ œ œœ œœ œœ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œœ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3 3 3
& w
˙
w
˙ w œ
œ œ
(tonic w prolongation after w cadence) w œ(rhythmicœ motion œ œœresumes œ andœ is unceasing) œ œ œœ œ
œœ... resumes œœ... andœœ... is unceasing)œœ œœœ œœ œœ œœ
(tonic prolongation after cadence) (rhythmic motion resumes and is unceasing)
œœ... œ.. œ.. œ œœ œ œ œ œœ... œœ... œœ... ##(rhythmic œœ œœ œœ œ œœmotion

œœ œœ œœ œœ œœ
(tonic prolongation after cadence)
& œœ.. œœ.. œœ.. œœ œœ œœ œœ œœ œœ.. œœ.. œœ.. ## œœ œœ œœ œœ œœ œœ. œœœ.. œœœ..
œ œ œ # œ œ œ œ œ œ . œ 5œ œ œ
&
& œ œ. œ. œ œ œ œ œ œ œ œ 5 œ
& 3 œ3 œ3
& 5 œ
œœ
œ
cresc.
# œ œœ œœœ
5 5
œ
5 cresc.
?
# œ
5 5
& 3 œ 3 œ 3 œ 3 œ 3 œ 3 œ 3 œ 3 œ 3 œ 3 œ ? #œ
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3 œ œ œ3 œ œ œ3 œ œ b œ3 #
3 œ
53 3 3 3 53 3 3 3 5
œ3 œ œ œ3 œ œ œ3 œ œ ?
cresc.
& œ 3 œ œ3 œ œ3 œ œ3 œ ? #œ
53 53 5
œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ bb œœ ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ? # œ 33œ # œ
3 3 3 53 3 3 3 cresc. 3 3 3
&
& œœœœ œœœ œœ œœœœ œœœ œœ œœœœ œœœ œœ œœœ œœœœ œœ œœœœ œœœ œœ œœœœ œœœ œœ œœœœ(accidental
3 3 3 3 3 3 3 3 3 3
& œœ œ œœ bb œœleading# œ œœœtoto œœnew œ keyœœ œœwillœ œ œœreaffirmed

œ
œ œ leading œ will œœbe repeatedly)
3
.
3
œœ... œ.. œ.. œ œœ œ œ œ œœ... œ.. œ.. œ œœ œœœ œœ.. œœ ... œœœ œœ... œœ .. œœ œ.. œ .. œœ œ.. œ œœ œœœ
(accidental new key be reaffirmed repeatedly) 3
(accidental leading to new key will be reaffirmed repeatedly)
œœ.. œœ.. œœ.. œœœ œœ œœœ œœ œœœ œœ.. œœ.. œœ.. œœ œœ œœ œœœ.. œœœ .. œœ œœ.. œœ .. œœœ œœœ... œœœ .. œœ œœ.. œœ œœ œœ
&
& œ œœ. œœ. œ œ œ œœ œ œ œœ. œœ. œœ œ œ œ. œ œ . œ œœ. œœ 3œ
&
&
& œ œ œ œ œ œ 55 œ œ œ œ œ œ œ 33œ œ œœ œ œœ œ œ œœ œ œ œœ
5 3
? œ œ œ
œ œ œ œ
œ œ œ œ
œ # œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ # œ œ œ œ œ œ œ œ œ
5 3 3
? œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ
3
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3# œ 3œ œ 3œ
3 3 3 33
? œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ &
œ œ œ œ œ 3œ
5 3 33
? # œ œ # œ œ œ œ œ # œ œ œ
3 3 3
œ
? 3 3 3 #œ 3 œ œ œ œ œ œ # œ œ œ œ &
œ œ œ œ œ œ œ œœ
3 3
# œ œ
3 3
& œ œ # œ œ œ œ œ œ œ œ œ
3
œ œ
œ œ œ œ œ
&
œ # œ œ œ œ œ œ œ œ
3 3 3
& œ œ œ œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
œ T œ. œ œ T œ. œ œ T œ. œ œ œ . œ œ TI œ . œ œ TI œ œ -
. #œ œ œ. œ œ. œ
‰. R
142
142
&
œ œ œ œ ‰≈ r œ
& œ œ œ œ œ œ œ œ œ œ œ#œ œ œœ œ œœ œ œœ œ œ œ œ #œ œ œ œ œ œ #œ. œ . œ
33 33 33 33 33 33 33 33 33 33 33 33
#œ œœ
œ-
- œ. . œ. .
‰ . r# œ 3œ œ œ œœ œœ- ŒŒ ??œœ.. œ.œ. œ.œ. ŒŒ ÓÓ && ÓÓ Œ Œ œ œœ œ #œœ#œœ œ œ œ Œ Œ œ œœœ#œœ# œœ œ
33
Secondary
Secondary Theme
Theme
&
3
œ œ JJ
-œœ-
-œ ? # œ œ œ œ œœ
5 5 5 5
& ? ‰ .œ œ ŒŒ j ŒŒ ÓÓ œ œ œ œ œ œ
?
& œœ œ œœ œ œœ œœ œ œ# œ# œ œ œ œ œ œ œ œ œ œœ œ œ# œ# œ
33 33 33 3 3 3 3 3 3
jœ
3 3 3 3
&
R 33 œ . œ
œ . .œ. .œ. œ œ
œ œ œ œ œ
33
(half cadence followed by rest) (ST
(half cadence followed by rest) (ST in
in G
D major,
major, the
the dominant
dominant of
of C
G major)
major)
&
# ...
. œ œ œ œœ.. œœ.. œœ..
Primary Theme
& ###### œ j œœœ

ccc ggg œœœ ŒŒŒ œœœ... ‰‰‰ œœjjj ŒŒŒ ‰‰‰ œœœ. œœœ. œœœ. œœœ œœ œœ ‰‰‰ œœœœ. œœœœ. œœœœ.
140
œœœ... œ
Primary
Primary Theme
œœœ œœœ œœœ œœ œœœ œœœ œœœ œœ œœœ œœœ œœ œœœ œœ œ œœœ œ
Theme
œœœ..
140
140
&
Primary Theme
& œ œœ œœ ‰
& # c ggg fœœœ Œ œ ‰ œœ œœœ Œ ‰ppœœ... œœ... œœ...
140
g ffœ œ œ œ œœ œ œ œ œœ œ. œ.. œ œ œ œ œœ œœ œ œœ fffœ œ œ ppp

.
œœœ...
. .
œœœ... œ œ œ œ œ œ ppœ œ f œœ œœ pœœ œœ
? ## #
? cc fœœ Œ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœ œœœ... œ
‰‰‰ œœJJœ œœœ œœœ œœ œœœ œœ œ œœœ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œ
?
? ##### cc œœ
œœ
ŒŒŒ œ œ œ œœ œ œ œ œœ œ œ œ
‰ JJ œ œ œ œ œœ œœ œ œœ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ
œ œ œ œ œ
œ
œ. œ. œ. œœœ œ œ œ œœ œœœ
##### œœœœ œœœ œœœ ‰‰ œœœœ... œœœœ... œœœœ... œœœ œœ œœœ œœœ œœœ œœœ œœœ œœ œœœ### œœœ œœœ œœ œœœ œœ œœœnnn œœœ œœœ
œœœ œœœ œœœ œœ œœœ œœ œœœ œœœ œœœ## œœ œœœ œœœ œœœ nnœœ œ œ
6 transition
&
666 transition
œ
## œ œœ œœ ‰ œ œ œ œœœœ nnn œœœ
transition
˙
6
& œ œ œ# œ œ œ œ œn œ œ œ œ œ œ œ œ œ## œœ œ œ œ nnœœ œœ œœ

&
& # ffœ œ œ ‰pp
6
˙˙˙
transition
ff œœ œ
ff œ œ ppœ œ ff œœœ fff ppœ n œ
? ## # œœ œœ œœ œœ Œ Ó œœœ œœœ œœœ œœ œœœ œœ œœœ œœœ œœœ## œœ œœœ œœœ œœœ nnœœ œ œ œœf œœ œœ œœ ppœœ œœ œœ œœ
? œ œ œ œ œ œ œ œ## œœ œ œ œ nnœœ œœœ œœ
?
? ##### œœœ œ œœœ œ œœœ œ œœœ œ œœœ ŒŒŒ ÓÓÓ œ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ (cadence from V to I closes PT)
(cadence from V to II closes PT)
(cadence
(cadence from
from V
V to closes
closes PT)
to Iactivity)PT)
œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ

(increased rhythmic
(cadence from V to activity)
I closes PT)
(increased rhythmic
##### œ
(increased rhythmic activity)
œ
(increased rhythmic activity)
. œœœ
10
. œœœ Œ œ˙œ˙œ˙ .. œœ œœœ œœ œœœ œœœ

œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ ‰‰‰ œœJJJœ
10 (increased rhythmic activity)
œœœ œœœ
10
& œœœ .. œœ œœœ## œœœ œœœ œœœ ŒŒŒ ˙˙˙

10
10
##
10
&
& # œœ . œ # œ œ œœœ ˙˙˙ œ œ
œ
p
œ
œœ f
f
œ˙ . œ œ œ œœœ ‰J
œ #œ f p
œœ œœ œœ œœ œœ œœ œœ œœ fffœœ œœ œœ œœ pœœp œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ fœœœœ
f œœœ œœœœ
? ## #
?
? œ œœœœ
? ##### œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
œ œœœ
œœœ
œœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
##### œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
14
œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ ## œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ
14
14
&
14
##
14
&
& # œœœœ
? ## # œœ œœ n œ
œ n œ œ œœ œœ
œ œœ bb œ nnnn œœœœ
œ
œ
œœœ œœœœ &
?
? œœœ œœ nnn œœœ œœœ œœ œœ œœ œœ bb œœ nn œœ
? ##### œœ œœ n œ
nœ œœœ œœ œ œœ œœ bb œœ n œ œ
œœ œœ &
œ œ bœ œ &&
œ œ.. n œ. . . . . . . œœ œ œ.. œ. . . .
# œœœ œ
‰‰ œœJJœ.. nn œœ... œœœ... œœœ... œœœ.. œœ... œœœ.. œœœ... œœœ... œœœ œœ œœœ œœœ œœ œœœ œœœ œœœ œœœ ‰‰ œœJJœ.. œœ... œœœ... œœœ... œœœ..
& ######
17
17
17
œœ
17
‰‰ JJ n œ œ œ œ. œœ. œ. œ œ œ œ œ œ œ œ œ œœœ ‰‰ JJ œ œ œ œ.
17
&
&
& #
& ##### œ # œ œœ œœ œœ œ œœ œœ œ œœ œ œœ œœ œ œœ œœ œ œœ œ œœ œœ œ œœ œœ œœ # œ œœ œœ œœ œ œœ œœ œ œœ œ œœ œœ
&
& ## œ
œ #
# œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ # œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œœ œ œœ œœ œœœ œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ ### œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œœ
œ œ
& # œlegato
œœ œ œ œ œ œœ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ
œ œ I
mIIœI m .
legato
. œ œ œ œ œ
legato Secondary Theme
. . œ œ # œ œ mmœœ ## œœ œœ... œœœ..
##### œ œ œ
œœ... œœ.. œœœ.. œœ... œœ œœ œœ œœœ œœ œœ œœœ œœ œœœ œœœ œœ œœœ œœ œ Œ œœœ œœ ## œœ œœ œœ œœ œœ mmœœ œœœ œœœ ... m
œ œ m
20 legato Secondary
Secondary Theme
Theme
& œœ. œœ. œ. œ œ œ œ œ œ œ œ œœ œœœ œ œœ œ œœ œœ ŒŒ œ œ # œ œ œ œ œ œ œ . œœ ## œœ œœ. œ.

20 Secondary Theme
##
20
20
&
20
&
& # œ Œ
20
& ##### œ œ œ œ œ œ œ œ ŒŒ ∑∑∑ œœœœœœ œœ

&
& ## œœ œœœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœœ œœ œœœœ œœœœ ŒŒ ### œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
& # œœ œœ œ œ œ œ œ œœ (half œœ cadence
œœœ followedœœœ
∑ #(ST œ œisœinœV—A œ œ major) œœ
(ST
(ST is is in
in V—A
V—A major) major)
(half
(half cadence
cadence
by rest followed
followed
concludes transition)
(half cadence followed (ST is in V—A major)
by
by rest
(half concludes
cadence
rest transition)
followed
concludes transition)
by rest concludes transition)
by rest concludes transition)
YT: 34stw2rF0t8
Figure 25.2.3: Mozart, Piano Sonata, K. 284, I.

25.2.3 Developmental Function
Music with developmental function often contains sequences and fragmen-

tation of earlier melodies. In addition, developmental music modulates through
multiple keys. Phrase lengths may be irregular and elisions may be used by
the composer to keep the listener off balance.
It can sometimes be difficult to distinguish between transitional and devel-

opmental music. A development section is typically longer than a transition
and therefore will contain more sections of a varying nature and as well as a
greater number of modulations.
Examples from a development section can be found in Section 11.1 of this

text. Note the fragmentation and sequencing of melodic ideas as well as the
different keys expressed in the examples throughout that section.
25.2.4 Terminative Function
Terminative function is typically expressed through a rather emphatic al-

ternation of tonic and dominant harmonies, usually to affirm a tonal center.
The closing theme of a sonata has terminative function.
œœ œœœœ œ œ
4 œ ‰ œ œ #œ ‰ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œœ œ
&4 ‰ ‰ ‰ ‰ œ Œ
Vn. I
œ œ
4 œ #œ œ #œ œ #œ œ œœ œ
Vn. II & 4 œ œœ Œ œ
œ
Œœ
œ
Œ œ
œ
Œœ
œ
Œ œ
œ
œ œ Œ
œ œ œ
œœ œ œ œ œ
Vla. B 44 Œ œ Œ Œ œ Œ Œ œ œ Œ
? 44 œ œ Œ œ Œœ Œ œ Œœ Œ œ œ œ
œ Œ
Vc.
C.B.
G: I V I V I V I
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
YT: jVPDANe91d4
&
B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure 25.2.4: Mozart, Symphony No. 41, K. 551, I., Closing Theme
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& ‰ œ 3œ Œ .j . Œ Ó
R œ . œ. œ.
& œ œ œinœDœmajor,
œ(ST
œ #œ œ œœ œœ œ # œ
œ œ œtheœdominantœ œof Gœmajor)
œ œ
3
3 (half cadence followed by rest)

3
(half cadence followed by rest) (ST in D major, the dominant of G major)
25.3. RONDO FORM 343
# ## œ
Closing Theme (tonic and dominant harmonies emphasized)
œ œ œ
& #### c œœ Œ Œ œ œ ‹œ . harmonies emphasized)
œ œ œœ
Closing Theme (tonic and dominant
& # c pœ Œ Œ œ. œ ‹œ œ œ
œœ. œœ. œœ.
? #### p #œ œ œ œ œ œ . œ œ
. .
c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? #### c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œped.
œ () œ () œ () œ () œ
( œ) ( œ) (œ ) ( œ)
pt.
g˜ : i
ped. pt.
V
g˜ : i
œ. œ. œ.
V
# ## œ. œ ‹œ œœ. œœ. œœ.

˙.
& #### œ. œ ‹œ œœ œœ œœ
œ ˙.
& #
œ
œ
œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
œ
? ####
? #### œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœped.œ pt. ( œ)# œ œœ œ (œ) œ œœ œ (œ) œ œœ œ (œ) œ œœ œ
œ œ œ œ ped. pt. ( œ) ( œ) ( œ) ( œ)
i V
137
i V
˙ # # # 6 œ . œ˙œ œ œ . œ œœ˙ œ j ˙ œ j œ œ
## J œ œœ ˙ J œ œœ ‹œœ ˙ œJ œ œJ œ œœ œœ œ . œ œ
& # # # ## ˙& 8 œ ‹ œ ˙
œ J
œ œœœ œœœ
& # p œ ‹œ j œ œœ œ œœj œœ œœj
œ œ
j j j jœ
‹œ
j
œ
œ œ œœ œœ œ œ œœ œœ œœ œ œ œ œ œœ œœ œ œœ
? # # # 68 œ . œ œ J œ . œ J œ œ œ œ
J œ œ . œ œ . œœ J
J
cresc.
? #### œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ Jœ ___ œ cresc.

œ œ œ œ
œ œ œ œ œ œ œ œ (œ) œ ( œ) œ œ ___œ œ œœ œ œ œ œœ œ
# œ œ œ œ # œ œ œ œ
? #### œ œ œ œ œped.
œ œpt.œ (œ) œ ( œ) œ
œ œ ( œ) ( œ)
jœ œped. pt.(œ) ( œ) œ . œ
# # # . œ Vœ œ œ œ œ œ œ.
œ œ œj œ œœ i œœ œj ped. œ . œ œ œ œJ
œ i œ œœœ œœœ ‰ ..V ..
œi œ
œ œ
ped. pt. ped. pt.
&
pt. V
J
i
j j j
i V i
œ œ œ œœ œ œ œœ S p œœ œœœ
œ œ
œœ œœœ
? ### œ . œ œ œ œ
J œYT: œ œ j ‰ .
. .
.
J aOzWTNaQRxQ
J œ œ
___ ___
# # Beethoven,
œ œ œ. œ œ Moonlight j Op. 27, No. 2, III, Closing
œ. œ œ œ œœ œœ œ . œ œ œ œJ œ . œ œ œ œJ
& #
Figure 25.2.5: Sonata,
Theme (1802)
. J p
S S S j j j j
œ
œ œ œ
œ # œ œ. œœ œ œœ œœ œœ œ œ œ œœ œœ
? ### ‰ œ ‰ œ œ. . J œ. œ J
Go to the Practice J of this chapter to practice
Exercises at the end identifying
these four structural functions aurally. ___ ___
### j œ œj œ j j j
œœ œœ œ œ œ œ œœ œ œ ‰ ..
& œ
25.3 Rondo Form œ œ œ œ . œ œ œ œ
œ œ
œ œ
œ œ
œ
œ œ œ J
j J
œ œ œœ S p fœ œ œ œ œ œ œ
# # # œthatœJbeginsœ with
A rondo is a?piece œ a refrain
j œ œ
(an A section) œ œ œ œ with
that alternates ‰ ..
episodes (B and C). The 5-part J rondo, œ œ
œ .an exampleJ of which J
J we encountered
___ ___
in an earlier chapter, has ABACA form or ABABA form. The 7–part rondo
typically has ABACABA form, although other designs exist. A diagram for
7–part Classical form is shown below.
A transition B retransition A transition C retransition A transition B retransition A
Major: I V I i,vi, I I I
or IV
Minor: i III i I,VI, i i i

or iv
The refrain (the A section) is always in tonic. The first episode (the B
section) was typically in a closely related key—the dominant (V) if in major
or the mediant (III) if in minor. There was greater variety of keys used for
the second episode (the C section), including tonic minor in a major sonata or
the submediant (vi or VI). A retransition in this case is defined as a transition
returning to material previously heard.
Note that the B section being first stated in the dominant then later in tonic
is an example of sonata principle, a principle which occurred in many Classical
era pieces (see Charles Rosen’s Sonata Forms for more on sonata principle).
An example of Classical seven–part rondo form is found below in the third

and final movement of Beethoven’s Pathétique Sonata, Op. 13.
. .
b b C . œ. œ. œ . œJ œ . œ ˙ œj œ n œ œ œ œj œ œ œ œ œ œ ˙ . œœ
Allegro
b
148
& œ J
p œ n œ œ œ œ œ œ œ œ œœ œ n œœ œ œœ œ n œ œ œ œ œ œ
? bb C ‰ Œ œ œ œ œ œ œ œ œ œ
b œœ
œ œ œ œ œ œ œ nœ œ œ nœ œ
& bbb n ww
œ
œ œ YT: 05Xyc2FHHRI œ ˙ œ Œ
w
Figure Í œ Op.œ 13,œ III (1798), ˙ .. Refrain
? bb w n œ œ œ ˙
25.3.1: Beethoven, Pathétique Sonata,
b œ Œ Ó œ Œ
w œ . .
bb b C . œ. œ œ . œJ œ . œ ˙ œj œ n œ œ œ œj œ œ œ œ œ œ ˙ . . .œ œ
148 Allegro.
& b œ Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b b ˙
&A briefœ. sequential œ œ œ œleading œthe œ œ œ œ œœœ œœ œ
œ mediant
p œ œ œ œ œœ œœ œ(En œ2 œmajor).
? bb C ‰ Œ œ œ œ œ œ œ œ n œ œ œ œ œ n œœ œ
transition follows, to
œ œœ œ œ œ œ
b œ œ
dolce
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b
bb b œ œ œ œ œ œ œ œ nœ œ œ nœ œ
œ ˙ Œ
& b
& b b n www œœ œœ œ œœ œœ ˙˙ .. œœ ˙ n ˙˙˙ œ ˙˙ .. œ œ
œÍ . . . . .̇ œ . œ ˙.
œ ˙ .
? b b w p. . . Œ . Ó n œ .̇ œ b ˙. œ ˙ . Œ
? b b Œwb œ œ œœ œ œœ œ œ ˙
˙ .
. œ œ ˙ .
b œ Œ
bb b
b œ œ œ œœœ œœœœœœœœ œœœœ. .
& b b ‰œ. Œ ˙ œ œ œ Œ Œ ˙ œ œœœ˙ œbœœ?
& ˙ ˙ ˙ YT: 05Xyc2FHHRI b œ
˙ ˙ œ œ œ œ
œ pœ œ œBeethoven,
œ œ œ œ œ Pathétique œ œ œ Op. œ13,œ III,œTransition
œœ œ œ
dolce
Figure œ25.3.2: œ œ œ œ œ
?
? bbbb b œ œ œ ˙ ˙ œ
Sonata,
œ œ
b˙ ˙ œ ˙ œ b œ n œ œ œ ˙ b ˙ ˙œ ˙œ
b œ
p
bb b ˙˙ .. œœ ˙ n ˙˙˙ ˙˙ .. œ
& .œ
œ œ
œ œ
œ . œ
œ . . ˙ .
?The œ œ . . . œ . œ œ œ .̇ .
b b b first
≈ œ n episode
œ œ p (the ≈ œ œ œB section) ≈ œ œ is in the œ & ≈Eb major,
≈ œ œmediant, œ. the ≈ relative
œ. .
œ .
œ œ. ˙ . .̇ b .
˙
œ n œ œ
˙ . œ œ œaœ.key
? b b than Œ the œ œ œ œ ˙. œ
starting key. Notice that the themes during this episodeŒ are
major of C minor. The primary purpose of this first episode to establish
? b
bbb ‰tuneful. ‰ ‰ ‰ ‰œ n œ œ ‰œ œ
different
not particularly
œ nœ œ œ œ œ œ œœ œ œ œ .
bb b ‰œ. Œ . . . Œ. Œ ˙ œ œ ˙ b œ?
&
˙ ˙ ˙ ˙ ˙ bœ œ œ œ œ
p
? bb œ œ ˙ b ˙ ˙ ˙ œ ˙ œ b œ n œ œ
b œ œ ˙ b˙ ˙ ˙
p
n ww
w
Í œ œ œ ˙ ..
? b Œ Ó n œ œ œ ˙ Œ
25.3. b RONDO w FORMœ
bAllegro . œ œ œ œ. .
œ ˙ . œ
œ345
b b Cw . œ. œ œ . œ œ . œ ˙ œ œ n œ œ œ œ œ œ j j
148
œ
& b œ J J
bb p˙ œ n œ œ œ œ œ œ œœ œ œœ œ œœ œœ œœ œœn œœ œœ œ œœ œ nœœ œ œ. œ .œ œ
œ
& b b b Cœ. ‰ Œ œ œ œœ œ œœœ œ œ œ œ
? œ œ œ œœœ œœ
b
dolce
? b b œ œ œ œ œ œ œ œœœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ
œ
bb œ œ nœ œ œ nœ œ
& b b n ww œœœ œ œ ˙ œ Œ
w
& b b b Í œ œ œ œ ˙˙ .. œœ œ ˙ œ n ˙˙œ˙ ˙˙˙.... œ
? b b œw œ. œ. œ. Œ œ. Ó n œ .̇ œ . œ ˙˙ . Œ
b p œ œ
w œ. œ. œ œ. œ. ˙ . YT: 05Xyc2FHHRI
.̇ b ˙. ˙ . Episode
? b b Œ25.3.3: œ Beethoven,
œ œ œ Pathétique ˙. œ
b . Œ.
Sonata, Op. 13, III, First
œ œ œ œ
Figure
bb b œ œ œ œ œ œ œ œ
& œ. ˙ œ œœœ œœœ œ œ œœ œœ
&Theb b b ‰ Œdolce ˙ Œ œ Œ ˙ œœ œ ˙ b œ?
final œmelody œ ˙ œ œ
b œ œ
? b b œ œ pœ˙ œ œ œ ˙ œ œ œ œ˙ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ
of the first episode is clearly in the form of a parallel
b
period.
? bb œ œ ˙ b ˙ ˙ ˙ œ ˙ œ b œ n œ œ
bb bb pœ œ ˙ b˙ ˙ ˙
& œ œ œ œ ˙˙ .. œœ ˙ n ˙˙˙ ˙˙ .. œ
œ œ œ
. . . . œ œ .̇ . ˙.
p
? b b ≈ n œ œœœ.œ. œœ. ≈ œœœ.œ œ.œœ. ≈ ˙˙ ..œ œ œ. ≈œ œ œ œ..̇ & b≈˙. œ. ˙ . ≈ œ œ Œœ.
? bbb Œ œ œ œ œ œ
b œnœ œ
? bb ‰œ œ
b b bb ‰ Œ ‰ œ ‰
œ
‰
œ
‰
œ Œ Œ ˙
‰œ n œ œ
˙
. œ b œ?
& œ œ bœ œ œ œ œ
œ. ˙ n ˙œ œ. ˙ ˙ YT: . ˙05Xyc2FHHRI œ . œ œ œ .
œ
p
? bb œ œ ˙ b ˙ ˙ ˙ œ ˙ œ b œ n œ œ
b œ œ ˙ b˙ ˙ ˙
p
. . . .
≈ œ n œ œ œ Beethoven,
? b b 25.3.4:
b ≈ œ œ œ œ Pathétique
≈ œ œ œ œ Sonata,
≈ œ œ œ œ Op.
& ≈ œ ≈ œ œ œ. of
nœ œ .
Figure 13, III, Conclusion
First Episode
œ œ
? bb ‰ ‰ ‰ ‰ ‰œ n œ œ ‰œ œ
b œ œ œ .
œ nœ œ œ œ œ œ
œ.
A retransition . to a halfœ. cadence onœ.a G major chord. The
. and leads
follows
refrain follows in C minor.
YT: 05Xyc2FHHRI
Figure 25.3.5: Beethoven, Pathétique Sonata, Op. 13, III, Retransition to

Second Refrain
The second episode (the C section) follows immediately after the refrain.
The second episode is in A2 major, the submediant (VI) of C minor.
? b œ œ œ œ œ nœ . œ .œ ˙˙..
b b w p. . œ . Œ . Ó œ Œ
w . .œ . . .̇ b ˙.
? b b Œ œœ œœ œœ œœ ˙˙ .. œ ˙.
Œ.
b œ œ œ œ .FORMS
b œ œ œœœœœœ œœœœ
œ œœœœ
346 CHAPTER 25. SONATA AND RONDO
& b b œ. ˙ œœ œœ
bb b ‰ Œdolce Œ Œ ˙ œ œ ˙
& œ ˙œ ˙ œ b œ œ œ œ bœ
˙ ˙ œ œ œ
? b b œ œ pœ œ œ œ œ œ œ œ˙ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ
b
? bb œ œ ˙ b ˙ ˙ ˙ œ ˙ œ b œ n œ œ
b œ œ ˙ b˙ ˙ ˙
bb p
& b œœ œœ œœ œœ ˙˙ .. œœ ˙ n ˙˙˙
.̇ .
˙˙ ..
˙.
œ
œ . . . .
? b b ≈ n œ œœpœ.œ. œœ.≈ œœ.œ œ. œœ. ≈ ˙ œ. œ œ. ≈ œ œ œ..̇ & ≈b ˙. œ. ˙ . ≈ œ œ Œœ.
? bbb Œ œ œ ˙.
YT:œ05Xyc2FHHRI
œœ œ
b œ n œ œ
? b ‰ ‰ ‰ ‰ ‰œ
Figure 25.3.6: Beethoven, Pathétique Sonata, Op. 13, III, Second Episode
‰œ œ
bbb œœ œœ œ œ Œ Œ ˙ n œ œ. ˙
& b b ‰œ Œ œ n ˙œ œ œ œ bœ
. ˙ . ˙ ˙ œ. ˙ b œ œ œ. œ œ œ œ.
p
? b b œ œ ˙ bfollows
˙ ˙ the second
œ ˙episode,
b œ nœ œ ˙ b˙ ˙ ˙
A retransition ending on a half cadence on G
b œ ˙ œ
œ
major.
p
? b b ≈ n œ œ œ. .
≈œœœ œ
.
≈œœœœ
.
≈œ œœ œ ≈ ≈
b œ & œ œœ
œnœ œ . œœ .
? bb ‰ ‰ ‰ ‰ ‰œ n œ œ ‰œ œ
b œœ œœ œœ .
œ. œ nœ œ œ. œ. œ.
.
YT: 05Xyc2FHHRI

Third Refrain
An abbreviated version of the refrain follows, leading directly to a restate-

ment of the second episode (the B section), this time in tonic major (C major).
YT: 05Xyc2FHHRI
Figure 25.3.8: Beethoven, Pathétique Sonata, Op. 13, III, Third Refrain
and Second Episode restated in tonic
Following the Second Episode is brief retransition that develops final mo-
tives of that episode through sequences.
25.4. RONDO CHARACTER 347
YT: 05Xyc2FHHRI

Final Refrain
After one last statement of the refrain in C minor, the Coda begins imme-
diately after the cadence closing the refrain.
YT: 05Xyc2FHHRI
Figure 25.3.10: Beethoven, Pathétique Sonata, Op. 13, III, Final Refrain
. . .
149
œ œ nœ œ œ œ œ œ nœ œ œ œ œ œ n œ œ œ œ # œœ. œœ. n œœ.

b œ Œ ‰ b œœ œœ n œœ
&bb Œ ‰ Œ ‰
p
3 3
S 3 3
S 3 3
ƒ
œ n œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ œ
cresc.
? bb œ œœœ œœ n œœ
b œ. œ.
b
&bb YT: 05Xyc2FHHRI
? Figure
bbb
25.3.11: Beethoven, Pathétique Sonata, Op. 13, III, Coda
To review a simple, five-part rondo form, see the section on the second
tweenb bSections.
movement of Eine kleine nachtmusik in the chapter on Creating Contrast Be-
& b
? b
25.3.1 Sonata Rondo Form
b b rondo form is a rondo in which the second episode (the C section) is
Sonata
replaced by a development section, resulting in a design of A-B-A-Dev.-A-B-
A.
b
& b bRondo Character
25.4
? b b character is characterized by quick tempo in duple meter with light
Rondo
b typically achieved through the use of staccato articulation. This
character,
b
&bb
duple meter could be either simple ( 24 ) or compound ( 68 ). During the Classi-

cal era, the final movement of a multi-movement composition, e.g. a sonata,
quartet, or symphony, was often in rondo character. Not all pieces in rondo
form are in rondo character.
Listen to the following six examples to develop familiarity with rondo char-
acter.
1.
YT: ysB5SeaJp6s
Figure 25.4.1: Haydn, Piano Sonata in D major, H. XVI No. 37, III.
2.
YT: QYUANirkakg
Figure 25.4.2: Haydn, Symphony No. 104 in D major, Hob. I:104, IV.
3.
YT: YhGkLPqWjBc
Figure 25.4.3: Haydn, String Quartet in E-flat major, Op. 33, No. 2, IV.
4.
YT: hwxNp-LzDYo
Figure 25.4.4: Mozart, Symphony No. 36 in C major, K.425, IV.
5.
25.4. RONDO CHARACTER 349
YT: H0x_dCrKd4w
6.
YT: 6zbNgyJkzdw
Figure 25.4.6: Mozart, String Quartet No. 19 in C major, K.465, IV.
25.5 Standard Forms in a Multimovement Classical Piece
Below are the forms commonly encountered in the various movements of Clas-
sical symphonies, string quartets, and sonatas.
1. First movement: Sonata form
2. Second movement: Ternary form (ABA), Sonatina form, or five–part

Rondo
3. Third movement: Minuet and Trio (Compound Ternary)
4. Fourth movement: Rondo form, Sonata form, or Sonata rondo form

1. For each excerpt below, identify the structural function as either ex-
pository, transitional, developmental, or terminative. First, aurally
identify the tonic and determine if the key is maintained or another
(or multiple other) keys occur. Also, listen for cadences to demarcate
the form.
(a)
YT: je74Fhokrxg
Figure 25.6.1: Haydn, Piano Sonata No. 59 in E-flat major, Hob.

XVI:49, I.
(b)
YT: W2qW6fOtAMY
Figure 25.6.2: Beethoven, Symphony No. 5 in C Minor, Op. 67, I.
(c)
YT: rUgMSF49YE4
Figure 25.6.3: Mozart, Piano Sonata No. 18 in D major, K.576, I.
(d)
YT: kWBCjaxVaeE
Figure 25.6.4: Mozart, Symphony No. 40 in G Minor, K. 550, I.
(e)
YT: ZbWsNTiaebY
Figure 25.6.5: Mozart, Piano Sonata No. 7 in C major, K. 309, I.
(f)
0:00
352 (2nd time) CHAPTER 25. SONATA AND RONDO FORMS139
# 0:30 and fill in the m.1 œ œ . 4:19

3:37 œ œ œ œ 3:48
2. Listen to the 3 pieces
.
. œ œ œ œbelow
˙ .
diagrams. Cadences ˙ and
..
& 4
0:48 1:01 1:27 3:13 4:32 4:45 5:12
textural1:36
changes will designate the form—listen carefully for these.
œ œ œ œ
2:07 2:24 2:37 3:04
? # 43 .. œ œ œ œ œ œ ..
PT G: I
transition ST V6 CT V7 I I PTvi transition ST CT
D: ii I64 V7 I
0:00
#
(2nd time)
& .. œ ˙ œœ˙ ..
? # 0:08
.. 0:22 0:45 ..
1:12I 1:40 2:03 2:11 2:31 2:54
0:51 G:0:58
V65 IV
1:35 I V7 vi I6
4
V7 I
PT transition ST (CT) Fragmentation & Retransition PT transition ST (CT)

sequencing
I
In major:modulating V V V modulations V pedal I tonicizations I I
YouTube: https://www.youtube.com/watch?v=Rxsrsp7dLCg
In minor: i modulating III III III modulations V pedal i tonicizations i i
PT = Primary Theme
Figure 25.6.13: Mozart, Piano Sonata K. 545, I.
ST = SecondaryTheme
CT = ClosingTheme
PT transition ST1 ST2 CT Retransition PT transition ST1 ST2 CT
0:00
(2nd time)
0:30 0:48 1:01 1:27 3:48 4:19 4:32 4:45 5:12

3:13 3:37
1:36 2:07 2:24 2:37 3:04
YouTube: https://www.youtube.com/watch?v=wPKFdj5V3Bw
Figure 25.6.14: Mozart, Eine kleine nachtmusik, K. 525, I.

Examples for Assignment 36, Section 1

3. For each excerpt below, identify the structural function as either ex-
pository, transitional, developmental, or terminative.
(a)
YT: je74Fhokrxg
Figure 25.6.15: Haydn, Piano Sonata No. 59 in E-flat major, Hob.

XVI:49, I.
(b)
YT: ZbWsNTiaebY
Figure 25.6.16: Mozart, Piano Sonata No. 7 in C major, K. 309, I.
(c)
YT: 6z4KK7RWjmk
Figure 25.6.17: Beethoven, Symphony No. 5 in C Minor, Op. 67,

IV.
(d)
YT: U4K2mz_rPcs
Figure 25.6.18: Mozart, Piano Sonata No. 8 in A Minor, K. 310, I.
(e)
YT: sBYfP1gbTkE
Figure 25.6.19: Mozart, Piano Sonata No. 14 in C Minor, K. 457,

I.
(f)
Chapter 26
Voice Leading Triads
26.1 Voice Leading

Voice leading, also known as part writing, refers to rules about melodic
motions of voices involved in harmonic progressions. The primary concerns
behind voice leading rules are independence of parts, voicing of chords, and
economy of melodic motion for the sake of singable parts.
“SATB” voice leading refers to four–part chords scored for soprano (S), alto
(A), tenor (T), and bass (B) voices. Three–part chords are often specified as
SAB (soprano, alto, bass) but could be scored for any combination of three
voice types. SATB voice leading will also be referred to as “chorale–style” voice
leading.
& c ˙˙ ˙
152
˙
Soprano
Alto
? c ˙˙ ˙
˙
Tenor
Bass
˙ Tenor,˙ and Bass Soprano

cAlto,
152
Figure 26.1.1: Soprano,&
“chorale–style” voice leading ˙ ˙ voices on the grand staff in
Alto
& cc ˙˙˙
? ˙˙
˙
Soprano
˙
Tenor
Alto
Bassparts are in the upper
“Piano–style” voice leading means the three upper
Tenor
?c ˙
staff (the right hand part) and the bass is the only voice in bass clef (the left
˙
hand part).
Bass
& c ˙˙˙ ˙˙
˙
Soprano
Alto
&
Tenor
?c ˙
˙ Bass
?
Figure 26.1.2: “Piano–style” voice leading
&
357
?
358 CHAPTER 26. VOICE LEADING TRIADS
26.2 Types of Motion
˙
&• cContrary ˙
152 Definitions must be set out regarding types of motion between two parts.
˙ ˙
Soprano
motion occurs
Altowhen the two voices move in opposite direction
˙˙ ˙
to each other by step or leap.
?• cOblique
˙ occursBass
Tenor
motion when one voice stays the same and the other voice
moves up or down by step or leap.
• Similar motion occurs when both voices move in the same (or “similar”)
˙ motion
˙˙ is alsoSoprano
direction—both up (by step or leap) or both down (by step or leap);
& csimilar
˙˙ ˙
called “direct” motion
Alto
Tenor type of similar motion and occurs when both
• Parallel motion is a specific
? cvoices
˙ down
move in the same direction by the same interval—both up by step,
˙ by a third.
& c ˙˙ ˙
152 or both BassParallel motion is also known as direct motion.
˙
Soprano
Alto
? ˙ ˙ ˙ ˙
contrary motion oblique motion similar motion parallel motion
& c˙ ˙ ˙˙ ˙ ˙ ˙ ˙
Tenor
Bass
˙
same note
˙
up (by 3rd) up (by 2nd)
?˙ ˙ ˙ ˙ ˙ ˙
& c ˙˙˙ ˙˙
˙Figure 26.2.1:
Soprano up (by 6th) up (by 2nd)
Alto
Tenor The four types of motion
?
&c ˙ ˙ Bass
? contrary
26.3 Objectionable obliqueParallels
˙ ˙
motion motion similar motion parallel motion
& ˙writing in
When ˙ three or˙four parts,
˙ avoid having
˙ ˙
any two voices move in par-
˙
allel fifths or parallel octaves
same(and
note their octave equivalents—parallel
up (by 2nd)twelfths
˙
up (by 3rd)
? ˙ objectional
eras, these ˙ ˙
and parallel unisons). In the Renaissance,
parallels ˙ to destroy the˙ independence
Baroque,
were thought
Classical,
˙
and Romantic
of
the voices. Parallel 3rds, 4ths, and 6ths were upconsidered
(by 6th) acceptable.
up (by 2nd) Parallel
2nds and 7ths generally were not used.
˙ ˙ ˙ ˙˙ ˙
& ˙˙ ˙˙ ˙˙
par. 8ves
˙ ˙ ˙ ˙
par. 5ths ˙
˙ ˙ ˙˙ ˙˙ ˙ ˙ par. 5ths ˙
? ˙ ˙
par. 5ths par. 5ths
˙ ˙ ˙ ˙
Figure 26.3.1: Objectionable parallel fifths and parallel octaves
&
? Voice Ranges
26.4
For the purpose of music theory class, we will set out restrictions for voice
ranges that are likely more limited than those found among vocalists in the
1. F: ____ 2. e: ____ 3. E¯: ____ 4. A¯: ____ 5. A: ____
930 ____ ____ ____ ____ ____
?
26.5. RULES OF MELODY 359
prac test
class. These voice ranges are based on those most commonly found in J.S.
Bach’s 371 Chorales.
1. B¯: iiø43 2. E: viio42/V 3. f˜: Ger+6 4. b: V56/VI 5. F: EnGer+6
#˙ ˙
#˙
935 Soprano Alto Tenor Bass 43
&˙ & #˙ ? b˙ ?
˙ ## w ˙
˙ w
& # ww n n ˙˙˙ n ˙˙
n b ˙˙˙ n n ˙˙˙ n ww
b
917
Figure 26.4.1: Voice ranges for soprano, alto, tenor, and bass voices
A: I ¯VI ¯VII C: V
939
&
G: I ¯VI ¯VII I
# # n ww n b b ˙˙˙ b n ˙˙˙ n n ˙˙˙ n ˙˙˙ www

26.5 Rules of Melody & # n w
921
Rules of melody have been included in books C: I on composing,¯VI ¯VIIwriting

IV counter-
point, and music theory for centuries. The purpose of the rulesA:of¯VI melody
¯VII asI
described in this text are to aid in the construction of singable melodies and to
reflect a summary of melodic practice in music. (Remember that each part in
____ ____ ____ ____ ____
b b b n wwwwfound inb b bJ.S.

# n wwon the melodies #
www 371# #Chorales,
an SATB composition is considered a melody.) Because these rules of melody
b
925
b
& no doubt ww w b b w # ww
are based stylistically Bach’s you
will b ww be familiar with exceptions that have occurred in music
# ww
composed
since Bach’s death in 1750.
1. F: ____ 2. e: ____ 3. E¯: ____ 4. A¯: ____ 5. A: ____
1. Tendency tones should resolve: 7̂ goes to 8̂ and, to a lesser extent, 4̂
goes to 3̂ (other tendency tones are 6̂ and 2̂ , both of which should resolve
930 ____
down by step) ____ ____ ____ ____
prac test ?2. Avoid augmented intervals
3. Leaps larger than a 4th and leaps of diminished intervals should change
1. B¯: iiø43 after2.the
direction E: viio4/V
leap
2
3. f˜: Ger+6 4. b: V56/VI 5. F: EnGer+6
#˙ ˙
#˙
935 Soprano Alto Tenor Bass
#˙ ? b˙ ?
4. Consecutive leaps should outline a triad
& ˙following example&demonstrates ˙
˙
The how difficult a melody can be to sing
when these rules are broken
consec. leaps not outlining triad

+5 7ˆ not resolving
œ œ œ
939
& œ #œ œ œ
œ
?
?
large leap
Figure 26.5.1
941
&
26.6 Rules of Spacing

Generally, the upper three voice parts (soprano, alto, and tenor) are kept close
together. The general rule of spacing is to keep the distance between soprano
and alto as well as the distance between alto to tenor within an octave of each
other. Allowing a distance greater than an octave between soprano and alto
(or between alto and tenor) is considered spacing error. The distance from
the bass to the tenor can be greater than an octave.
˙ par. 5ths ˙˙ ˙˙ par. 5ths ˙˙ ˙ ˙ par. 5ths ˙
? ˙ ˙
par. 5ths
˙ ˙ ˙ ˙
w
Soprano Spacing
&
w
an 8ve or less
Alto
w
an 8ve or less
? Tenor
w
more than an 8ve okay
Bass
Figure 26.6.1
In terms of spacing chords, one should consider the spacing that occurs in
the overtone series.
& œ ( bœ )
œ
œ œ
? œ œ 153
˙
& œ ) œ series starting on C2
œ ( bOvertone
œ œ
Figure 26.6.2:
? œ œ
&c
˙ spaces between notes occur lower in the overtone series. Consider
Larger
the voicings of the following chords. Some “ring” or resonate better than others.
Notice that all of the notes fall within the voice ranges specified above.
& w
?c w ww
w
w ww
ww w
w w
? ww ww w w
ww w w w
Figure 26.6.3
&
? Voice–leading Root Position Triads in Four Parts

26.7
We are writing in four parts but triads have three notes. We will double the
root of every root position chord. (The root is in the bass when a triad is in
root position, so we are doubling the bass note in an upper part.)
the&root in root position triads.

Principle 26.7.1 Doubling rule for root position triads. Always double
?
To move from one chord to the next, consider the interval that occurs
melodically in the bass line between the current chord and subsequent one.
26.7.1 Bass movement of the interval of a 3rd or 6th

In the upper three parts (soprano, alto, and tenor): retain the two common
&
tones and move the other voice by step
?
?
?˙ œ ww ww w w
ww ˙ w w w
w w ww
26.7. VOICE–LEADING ROOT POSITION TRIADS IN FOUR PARTS361
& w ww ww ww ww
&3rd w w w w
w w ˙˙ 5th ww w˙˙ ww
& ˙? w
˙ ww ˙˙ wwRoot ww w
ww5th 3rd w w
Root
? ww ww ˙ Rootw w˙˙
5th
? ˙ ˙˙ w w
Root
˙ ˙
3rd 3rd
5th Root
Root Root
Root
Bass moves by 3rd Bass moves by 6th
C: I & ˙˙ 5th vi ˙
˙ 3rd ˙˙ ˙
3rd
& ˙˙˙Root
iii C: I
˙
Root
˙˙ 3rd
Root
˙ ˙˙˙
5th
˙˙˙ ˙ Root
Root
5th 5th
Root
& ? ˙˙ Root
Figure 26.7.2
˙ Root ˙˙
3rd
5th 3rd 3rd
5th
? ˙˙ Root ˙˙
5th Root
˙
Root
3rd 3rd
5th
? Bass
Root Root
Bass moves by 3rd
Rootmovement Rootmoves by 6th
Bass
26.7.2 of the interval of a 4th or 5th
C: I Bass moves by 3rd iii C: I Bass moves by 6thvi
In the upper
C: I three parts, doiiione of the following:
C: I vi
˙ ˙ 3rd ˙ Root
1. Retain the
3rd common tone and move the other two voices by step
˙ 5th ˙˙
& ˙˙ 5th
3rd ˙˙ ˙˙ 3rd
& & ˙ Root ˙ ˙ 5th ˙
Root 3rd
Root
5th
? ˙ 5th ˙˙ Root ˙ 5th ˙˙ 3rd

5th
˙ Root ˙˙ ˙ Root ˙˙
3rd Root
? ?
Root Root
5th
˙ Bass ˙ Bass
Root
3rd Root
Root
Rootmoves by 5th Root Rootmoves by 4th
C: I Bass moves by 5thV C: I Bass moves by 4thIV
C: I V C: I IV
2. Move all of the upper voices in the same direction
&˙
& ˙˙ ˙˙ ˙˙
˙ 5th 3rd Root 3rd
Root
˙
Root
˙˙
3rd
?˙ ˙
5th
? ˙
5th 3rd 5th
˙ ˙
Root
Root Root Root
Root
Bass moves by 5th Bass moves by 4th
C: I V C: I IV
26.7.3 Bass movement of the interval of a 2nd

Move the three upper parts in contrary motion to the bass line.
& ˙˙ Root
154
˙˙ 5th
3rd
˙ 3rd
5th
˙
? ˙ ˙
Root
Root
Root
Bass moves by 2nd
C: I ii
Figure 26.7.3
&
cadence in the minor?

Exception: When the bass moves by the interval of a 2nd in the deceptive
mode (V–VI in C minor), always move the 3rd of the
V chord up by step while the other notes (the 5th and the doubled root)
move in contrary motion to the bass. In this situation, two voices move in an
upward direction and two voices move in a downward direction. This results
in a doubled 3rd in the VI chord. In the major mode, use this voice–leading
solution if 7̂ is in the soprano voice (because it is a tendency tone).
5th ˙ 3rd
?˙ ˙ Root
362 ˙
˙ Root
3rd
Root CHAPTER 26. VOICE LEADING TRIADS
C: V vi
aug. 2nd
b
bad
& b b n ˙˙ ˙ n˙ ˙
˙ ˙ ˙
3rd 3rd
5th 3rd
? bb ˙ ˙ ˙ ˙
b ˙ ˙ ˙ ˙
Root 5th
Root Root
& ˙˙VIRoot
154
c: V ˙˙ c:5th
3rd
V VI
˙ 3rd
5th
˙ ˙Root ˙ 3rd
Figure 26.7.4: Voice leading the deceptive cadence in minor
&154˙˙˙ Root
154
? ˙
˙˙ ˙ ˙ ˙ 5th
˙ Root ˙ ˙Root ˙
5th Root
3rd 5th
3rd Root
˙ 3rd
5th
˙ ˙Root by 2nd ˙
Root
following two & ˙ 5th ˙ Root
3rd
The examples demonstrate
Rootmoves the two possible ways to deal with
the?deceptive
˙˙ 5th cadence C:in˙˙˙ ˙the I 3rd major mode.ii ˙ 5th
Bass
˙ ˙ Root
5th 3rd
˙ Root
?
Root
˙ Root
Root
Root 3rd Root
chord˙member
Root
Bass moves by 2nd * exception: 3rd of V resolves up by step;
repeated root: change Root while maintaing correct
3rd doubling (Root, Root, 3rd, 5th)
˙ 3rd
results in doubled
& ˙
C: II iiI Bass moves by 2nd * I I
C: ˙I 5th ii˙
3rd
* exception: 3rd of V resolves up by step; 3rd
?˙* ˙ *Root results in˙doubled

results in doubled 3rd
& ˙˙ 3rd
exception: 3rd of V resolves up by step;
˙ 3rd ˙* 5th
˙ ˙
3rd
& ˙ 3rd˙ Root Root

˙ 3rd
5th 3rd
Bass moves by 2nd 3rd
? ˙ Root ˙
C: V 5th vi
˙ Root
Figure 26.7.5: 7̂ in ?˙3rd ˙ 5th
the soprano voice ˙in5th the
can deceptive
resolve down cadence in major
& ˙˙ Root ˙
ofRoot
V chord is not in melody,
Root
C: V
Bass moves by 2nd
vi Bass 5th moves by 2nd ˙ 3rd
˙ 5th Root
?
C: V
˙ ˙
vi
˙ Root ˙ Rootcan resolve down

3rd
3rd of V chord is not in melody, can resolve down Root
& ˙˙ Root
3rd of V chord is not in melody,
5th
&˙ ˙˙ Root
C: ˙V
5th
˙˙ 5th
vi
˙
3rd 5th
˙ ˙
3rd
? ? b ˙ aug. 2nd
&˙b˙Root
bad
˙ Root ˙ Root ˙ 3rd
3rd
n ˙ 3rd n˙
Root
3rd
b Root ˙
Root
˙ 5th ˙ 3rd ˙ ˙
? b ˙ Root ˙ aug. 2nd ˙
C: V C: viV vi
˙bad5th aug. 2nd bad
Figure 26.7.6: 7̂ inb ban b inner˙ ˙ Root ˙ in major ˙
bb n ˙ & b b˙ n ˙
voice in the
˙
n˙˙
deceptive cadence
n ˙˙ ˙
& b ˙ 3rd
Root
˙ 5th ˙ ˙˙ ˙
3rd
˙
3rd3rd
c: V VI 3rd c: V VI
5th
˙ Root ˙
3rd
26.7.4 ˙ Root ? of
? b b Repetition b b b˙the ˙
bass note ˙˙˙ 5th
˙ ˙˙˙Root ˙ ˙˙ 3rd
b
Repeat the˙ upper &
Root three notes ˙
˙˙ 3rdRoot
5th Root
or arpeggiate ˙
˙ Root5th
the˙ upper notes˙ to3rddifferent chord
Root ˙ 5th
˙VIRoot
Root
? ˙˙VI5th ˙
members while maintainingc:the V voicing of a VI doubled the root, c: Vone 3rd and one
˙˙ Root ˙ Root ˙ Root

5th. c: V c: V VI
5th
˙ 3rd
3rd
˙
Root
& repeated
˙ ˙ while maintaing˙correct
˙ ˙ Root,
C:˙ I˙ Root I˙ ˙Root
Root doubling (Root,
& ˙˙ 3rd I ˙ 3rd
root: change chord member 3rd, 5th)
˙ 3rd
3rd 5th 3rd 5th
˙ Root
Root
˙ Root
I
5th
˙ ˙
5th
Root
? ˙ ˙˙ 3rd ˙Root ˙ ˙
? ˙˙ ˙˙ Root
5th 5th
˙˙repeated ˙
Root Root Root
5th 3rd 5th
Root Rootroot: change chord member
Root while maintaing correct
Rootdoubling (Root, Root, 3rd, 5th)
C: I I I I
repeated root: change chord member while maintaing correct doubling (Root, Root, 3rd, 5th)
C: I I I I
Figure 26.7.7: Repeated notes in the bass line

&b c
? b c œ œ œ ˙
b œ
363
œ œ
26.8. VOICE LEADING FIRST–INVERSION TRIADS
26.8 Voice Leading

b b c First–Inversion Triads
& ____
Instead of focusing ong:the intervallic
˜
____
distance ____ ____
the bass part ____
travels between
˜
____ ____
# # #b c w
roots of chords, voice leading first inversion triads requires focusing on the
?
& b c wwœ œ œ ˙..
1. 2.
œ
doubling or voicing of the chord itself. When approaching or leaving a first in-
œ
version chord, move as smoothly as possible while avoid objectionable parallels,
spacing errors, and melodic errors. œ
? ### c
˜ Chord
w w w
˜
w ____.. w
w for rootwposition chords (i.e., “doublew the bass”), w
26.8.1 Voicing a First Inversion
g: ____ ____ ____ ____ ____ ____
#
or fifth, depending on# which
In contrast to the doubling rule
& #A: c____www ____ ____ ____ ____ ____ ____ ____ ____ ..
do not double the bass note for first inversion triads. Instead, double the root 1. 2.
can be approached and left most smoothly.
&?b #43# # ˙˙c w

B¯ F/A Gm C/E F
œœ 5th œ˙ w œ 5thRt œœw w w w .. w
wRt w
œœ____ œœ ____œ Rt ____
œ
? b 43 ˙œA: ____ œ
œ 3rd œ ____ ____ ____ ____ ____
5th
3rd
b IV
& b 43 ˙˙
B¯ F/A Gm Cm/E¯ F
F: I6œœ œ˙ œ œœ 5thii V6 IRt
Rt 5th
#
D
˙ œ œ
œ
D/F˜ G
YT:œ8ZKxI8d4VbM
Bm
œœ œ Rt œ
& ? # 3
bc 4œ œ œ 5th œ œ 3rd œ
b
5th
œ Chorale
Figure 26.8.1: J.S. Bach, œ 237,œ “Gott
3rd
Rt œlebel noch”, BWV 320
? # # c œœ œœ œ œ 5th œ œ
B¯: I V 6 vi ii V 6
œ D/F
3rd ˜ G
œ
# #D:cI vi œ I IV œ
D Bm
& œœ œ œœ 5th œ
6
Rt
? # # cB¯œœ œœ E¯œ œ 5th Aœ/C œ B¯

œ 3rd œœ 3rd œ (œ) œ
o F/A
b b c œœ œ œ Rt œ
& œ œ
œ œ œ 5th œ
D: I vi I IV6
œ
? b b# c œ œ ( œ) œ 3rd œ
& # YT: 3B9KD9CJ3tA
œ
Figure 26.8.2: J.S. Bach, Chorale 153, “Alle Menschen müssen sterben”,6
? ##
BWV 262 B¯: I IV viio6 I V
If the 3rd of a first inversion is doubled, it will be in one of the following

situations:
# œ
& # c œœ œ
œ 5th œ
œ Rt œ
? # # c œœ œœ œ œ 5th œ œ
1. œ 3rd œ
Diminished triads in first inversion—always double the third (the bass),
not the root or fifth
D: I vi I6 IV
B¯ E¯ Ao/C B¯ F/A
b œ œ
& b c œœ œœ œœ œœ
œ
3rd ( )
œ œ
Rt
œ œ œ
? bb c œ œ œ œ
5th
( ) 3rd œ œ
B¯: I IV viio6 I V6
YT: Lul-S82JIeM
Figure 26.8.3: J.S. Bach, Chorale 103, “Nun ruhen alle Wälder”, BWV 392
2. Consecutive first inversion chords—alternate between doubling the third

and not doubling the third
E/G˜ D/F˜ C˜m/E

### œœ
A Bm/D
c œœ œœ œœ 5th œœ 5th
158
&
Rt Rt Rt Rt
5th 5th
œ œ œ œ Rt œ 3rd
? ### c œ œ œ œ 3rd œ 3rd
Rt 3rd
3rd 3rd
A: I V6 IV6 iii6 ii6

consecutive 1st inversion triads
##
& #
YT: QSv7SkXmhFI
Figure 26.8.4: J.S. Bach, Chorale 106, “Jesu Leiden, Pein und Tod”, BWV
? ###
245
3. Approached in opposite direction in both parts

26.9. VOICE LEADING SECOND INVERSION TRIADS 365
& b# c# œœ œ 3rd ˙ Bm/D

œœ . 3rd E/Gœ ˜ œ D/Fœœ ˜ C˜m/E
œœ Rt J œ œ Rt ˙ Rt
A
& # c œœ œ œœ 5th
158
œ œ
Rt
œœ œ ˙œ œ
5th 5th 5th
œœ œ œœ œœœ œ
? b c# œ ˙ œ
?# c œ
#
œ 3rd œ 3rd œ 3rd œ 3rd
3rd Rt 3rd Rt
3rd 3rd
F: ii I6 IV ii6 I6 ii7 viio6

&b
YT: 7OQrWJvezT4
Figure 26.8.5: Palestrina, Missa Aeterna Christi Munera, Sanctus
& bb c œœ
? œœ . 3rd œ œ œ
œ
œ 3rd ˙
œ ˙
Note that you should never double theJthird of the V chord because it is the
œœ œ œœ œœ œ ˙œ œ
leading tone (7̂ ).
?b c œ 3rd 3rd ˙
26.9 Voice Leading Second Inversion Triads
When a triad is in second inversion, double the fifth (the bass note).
b
B¯ E¯ Gm/D D Gm
&b c œœ œ œ œœ Rt # œœ ˙˙ ..
œ 5th
? b c œ œœ œ œœ 3rd œœ ˙.
b œ 5th ˙.
g: III VI i64 V i
b
&b YT: ivm4RACsrBU
? bb
Figure 26.9.1: J.S. Bach, Chorale 204, “Wer weiß, wie nahe mir”, BWV 166
26.10 Special Situations

Avoid parallel fifths when the roots of triads are a second apart, as in the
following examples:
1. ii6 to I64 (see the first measure in the examples below)

2. I to vii◦ 64 (see the second measure the in examples below)

165
& ˙˙
5th ˙˙ 5th 5th ˙˙ ˙˙ 5th
165
Root ˙ ˙˙ Root ˙ ˙
|| 5ths || 5ths
& 5th ˙˙
? ˙˙ 5th ˙˙ ˙˙
Root Root
5th 5th
C: ii˙6 ˙˙I64 Root ˙ ˙o6Root

|| 5ths || 5ths
? ˙ ˙ are a 2nd apart
RootC: I
vii
˙ when roots
Root
Parallel
E/G˜
fifths
D/F˜ C˜m/E
# # # I˙64 Root
Figure 26.10.1:
C: ii˙6 œ
A Bm/D
˙c œœ5th ˙ œ
œ 5th5th ˙œ 5th œœ ˙˙5th œœ 5th
158
& 5th ˙ &
Root Root
Rt C: I Rt vii o6
Rt Rt
Root
|| 4ths ˙
œ œ
œ Rt ˙ 3rd œ ˙Rt
5th
˙ œ œ 3rd
Root ˙ # ˙ œ
|| 4ths
? ? # ˙c Root ˙œ
œ ˙
& 5th ˙ # ˙ 5th 5th ˙ ˙ 5th œ 3rd
Root
3rd 3rd 3rd Root
|| 4ths ˙6
C: ii˙6 C: ˙IV vii˙
˙
6|| 4ths iii6 o6
? ˙
I 4A: I V6 ii6
˙ triads
I
˙ 1st inversion
consecutive
& C: ii6 I64 C: I viio6
& & b Parallel

? 26.10.2: c œœ fourths
œ 3rd as a corrective
œ whenœ 3rdroots˙ are a 2nd apart
œ. œ œ œ œ ˙
Figure
J
In?any such situation œwhere œthe roots
œœ are a œœsecond ˙ (even ifœ the chords
œ apart
? œ œ so the 5th of theœ chord˙is below the root
b c
are in inversion), revoice each chord
3rd 3rd
&
of the chord in the upper voices
26.11 Types of Six–Four Chords

?
&
bb c
B¯ E¯ Gm/D D Gm
tions where it& œ use a œ6 Rtchord. ˙˙ ..

When you are harmonizing melodies and writing music, there are three situa-
œœ #œ
? œ œ œ4 5th œ
is appropriate to
1. Pedal 6
œœ œ œœ 3rd œœ ˙.
4
Passing ?
& b b c œœ ˙.
2. 6
4
5th
3. Cadential 6
?
4
& pedal
g: III VI i64 V i
The 6
4 typically occurs in the patterns I–IV 64 –I or V–I 64 –V.
? œœ œœœ œœ œœœ
& œœœ œ œœœ œ
? œ œ œ œ œ œ
C: I IV64 I C: V I64 V
Figure 26.11.1: Examples with the Pedal Six–Four
The passing 64 typically occurs in the patterns I–V 64 –I 6 (or its retrograde)
and IV–I 64 –IV 6 (or its retrograde).
26.12. SUMMARY OF DOUBLING RULES FOR TRIADS 367 159
œœ œœ œœ
& œœœ œœ
œ
œœ œ œ œ
œ
?œ œ œ œ œ œ
C: I V64 I6 C: IV I64 IV6
Figure 26.11.2: Examples with the Passing Six–Four
& section we discussed the Cadential

In an earlier 6
4 chord. Please refer to
that section to review the cadential 64 chord.
?
26.12 Summary of Doubling Rules for Triads

To generalize, here are the doubling rules for voice leading triads in root posi-
tion, first inversion, and second inversion:
• Root Position Chords: DOUBLE THE BASS
• First–Inversion Chords: DO NOT DOUBLE THE BASS
◦ Exception: vii◦ 6 and ii◦ 6 : DOUBLE THE BASS
◦ Exception: Consecutive first inversion chords—alternate between

DOUBLE THE BASS and DO NOT DOUBLE THE BASS
• Second–Inversion Chords: DOUBLE THE BASS
Day One
1. For bass movement of a 3rd or 6th, in the upper voices hold one com-
mon tone and move the other two voices by step. For bass movement
of a 2nd, move the upper voices in contrary motion to the bass with
155
the exception of the deceptive cadence, which has special rules. Keep
track of doubling by specifying which voice has the root, third, or fifth
for each chord.
b # c œ
PRAC EXER
& b b c œœœ 5th
3rd œ 3rd
œ
Rt
Rt
? bb c œ œ # c œ œ
5th
b Rt
œ œ œ Rt
œ
E¯: I vi IV ii e: III iv V VI
## c œ
& b c œœ 5th
œ Rt
œ œ
3rd 5th
?b c ## c œ œ œ œ
HW
œ
3rd
œ
Rt
œ œ Rt
d: III iv V VI D: I iii IV ii
##
& # c œœ 5thRt b b c œœœ 3rd 5th
368 CHAPTER 26. VOICE Rt LEADING TRIADS
œ 3rd
c# # # œœcmovement
? bass œ Rt œ of aœ 4th, œeither (1) œ œ
156
& b b chold one common œ tone
HW
2. For Rt
5th œ and
move the two voices by step, or (2) move the upper voices in the same
? œ œ ˙
Rt
HW
root,cthird, œ œ
direction. Keep track ofV doubling by specifying which voice has the
œ
A: 3rd
iii IV vi B¯: V vi IV ii
œ Rtor fifth œ for each chord.
bb b bby:c ____ # ____3rd ____
& a: i œœœ VII c œ œ œ œ
iv œ Rt V
Bass moves 3rd ____ ____ ____
& c# œœ 5th
156 Rt
III VI VI
œœ 5th U
5th
Rt
? b 43b cœ Rt
& œ œ œ
œœ # œ
œc œ ) œ ˙˙ œ
b 5th Rt œ œ ( nRt
? c b œ œ 3rdœ œ
PRAC EXER
œ ˙
Bach chorale
HW #222
Nun preiset alle ???
œ f:Rt3rd œ œ œ
œ iv œIII œG: vi ii ˙ V
? # 3 œœ Rt (œ) ____œœ
i VII I
Bass moves4by: ____ ____œ ˙
œ
#
____ ____ ____
b œ____ œ ____ # c œœ ____ œ U œ u

b by:
&moves c œœ ____œ œ
a: i VII III VI iv V VI
# G: œ 5th
HW
3
5th
œ
Bass
& 4 œœœ 5thRt œœ œ

œ œ ( n œ ) ˙˙
3rd
HW #222 ____Rt ____ ____ ____ ____
? b b c œ Rt œ
Bach chorale
œ # # œc œ Rt œ œ
bb œ œœRt 3rd ˙ œ œ œ œ
Nun preiset alle ???
˙ œ
?
& # 43B¯:œ iii5th Rt (œ˙) vi œ ii œ Vœ œœ
œb: iv VII ˙ III
œ ˙ œ u
VI
?moves by:œ Rt ) ____ ˙ œ œ̇____

3. Givenb b the ( bass
HW Day Two
line andœ figured bass symbols, analyze the Roman
3rd
Bass ____ ( ) ____
G: ____ ____ ____ ____ ____
numerals below the staff and add soprano, alto, and tenor parts in
b
Bass moves by: ____ ____ ____
“chorale–style,” following rules of good voice leading. Choose the be-
& b œœregister
B¯:
ginning ____ Rt
5th
˙˙for each upper
____
œœ
____
œœ
____carefully, considering the number
part
of times the bass moves by the interval of a 2nd.
œ ˙˙ œ (œ )
? b b cœ œ
œ̇
3rd
&b
Rt
( )
?B¯: c____œ œ____ œ œ œ œ

œ œ
Bass moves by: ____ ____ ____
b ____ ____
&b c
d: ____ ____ ____ ____ ____ ____ ____ ____
? c œ œ œ œ œ œ
b œ œ
4. Given the bass line, analyze the Roman numerals below the staff and
˜
add soprano, alto, and tenor parts in “keyboard–style” (all three upper
voices d:in____
the treble
____clef), following
____ ____ rules____
of good____
voice ____
leading.____
Choose
the beginning register for each upper part carefully, considering the
direction of the bass line.
#
& c
?# c œ œ œ ˙
œ œ œ
G: ____ ____ ____ ____ ____ ____ ____
Day Three
5. Analyze the Roman numerals in the blanks below the staff and the
#
& # c J.S.
doublings of the chords in the squares—specifying Root, 3rd, or
œ Bach’s œChoraleœ 367, Befiehl
160
œ 3 du deine
œ œ
3
œ œ œ
3 5 5 3
5th—for
œ
Wege.
160
## c R œœ
R 3 5
œœœ 5 œ
5 R
&# c œœ œœ5
? œ œœ œ
œœ
œœ œ
# œ
PRAC EX R 5 R R
3 R
œ
R R 3 R
? # # c œœ œ ____ œœ œœ œ
œ
I
D: ____ IV
____ I6 ____ viio6
ii ____ I
____
b
& b# c
& # cD:œœ ____ œœ
160 EX
œ œœ
PRAC
œ
____ ____ ____ ____ ____
œ œw
? bb c œ œ
œ œ œ
? # ## c œœ œ œ œœ œ
6œ
& #
6 ˜ œ
6. Given the bass line
g: ____ and figured
____ ____ bass symbols,____
____ analyze the Roman nu-
merals and add soprano, alto, and tenor parts in chorale style. Review
b c rule
œ œ (œ )
œ triads
D: ____ ____ ____ ____ ____ ____
? ##
b
& wish toœ review figured œ
the special for doubling in diminished in first inversion. You
may œ bassœ with chromatic
œ alterations.
bb c œ œ œœ œ
HW
&
? b c #œ œ œ
b
( )
? b b cg: ____ œ œ w
œ œ ____ ____ ____
b
˜
& b bg:c____
6 6
____ ____ ____ ____
b ˙ ˙
& bb b b c œthe melody
? œ sureœ your progression follows the Har-
HW
7. Harmonize n œ making
monic Flowchart (analyze the harmonic function of each chord, ab-
? b c: ____
6 6 Ω
b
breviated as “HF”), then add alto, tenor, and bass parts in chorale
____ ____ ____ ____ ____
style following rules of good voice leading. Use first–inversion chords
to make a smoother bass line.
b
&b c œ œ œ œ w
PRAC EX
? bb c
B¯: ____ ____ ____ ____ ____
HF: ____ ____ ____ ____ ____
Day Four
HF: ____ ____ ____ ____ ____ ____
## œ œ
370 & # c œ œ œ œ
CHAPTER 26. VOICE LEADING TRIADS
œ œ
8. ? # # # cthe figured bass symbols to specify Roman numerals with in-

Analyze
version symbols below the staff. Add soprano, alto, and tenor parts in
keyboard style. Specify root, third, and fifth for every chord. Addi-
A: I V6 I IV6 V6 I V vi
tionally, specify the six–four chord type (pedal, passing, or cadential).
#
& # c
? ## c œ œ œ œ œ ˙
œ
#
& c
162
6 6 6 6 ˜
4 4
? # type: œ œ œ œ œ
c œ ˙
b: ____ ____ ____ ____ ____ ____ ____
6 chord ____ ____
4
˜ 6 6 ˜
i V64 i6 iio6 4i6 V i
4
9. For the given
e: ____Roman
____ numeral
____ progression,
____ ____ provide
____ soprano,
____ alto,
tenor,
6 chord type:
passing
and bass voices in chorale style. cadential
Be
____
careful not to exceed any
4
voice’s range. Specify root, third, and fifth for every chord. Addition-
ally, specify the six–four chord type.
b
&bb c
? b c
bb
c: i iv i64 iv6 iio6 i64 V VI
6 chord type: ____ ____
4
& bb c
? bto
Click here b cdownload the third homework assignment for this chapter.
Click here to download the fourth homework assignment for this chap-
ter.
b
&b
? bb
Chapter 27
Voice Leading Seventh Chords
27.1 Voice Leading Seventh Chords
There is one general rule for voice leading any seventh chord: resolve the 7th of
the chord down by step. All other voices should move smoothly to the nearest
chord tone in a voicing containing the appropriate doubling.
Principle 27.1.1 7th chords. Resolve the 7th of a 7th chord down by step.
163
163
j
œœ . œ œœ
? b b b 42 œœ œ œ œ œœ œ œ œ œ œ œ œ
œ
œ œœ
b
p
? b b b 42 œ œ
b œ œ œ
Textural reduction:
œœ œœ œœœ 7th
E¯7/D¯ E¯77/G
? b b 2 œœœ œœ
A¯ A¯/C
A¯/C E¯/G
E¯/G E¯ /G A¯
A¯
œœœ œ œ
7th
œ
bb 4
? b b b 42 œ œ
b œ 7th
œ œ
resolves down by step
step
A¯: I V42 II66 V66
V V5656
V II
b
& b bb
YT: SrcOcKYQX3c
Figure 27.1.2: Beethoven, Pathétique Sonata, Op. 13, II.

? bb b
b
371
? ### w w .. w
w
372 CHAPTER 27. VOICE LEADING SEVENTH CHORDS
### 6 j
& 8 œ œ . œ œ œ Jœ jj
œ œj Œ œj œ . ((œ)) œ œ . (œ) œ œ ‰
401
401
œœ
( )
### 6
401 Ich
Ich träum
träum -- te
te von bun -- ten
von bun ten Blu -- men,
Blu men, so wie
so wie sie
sie wohl
wohl blü
blü--hen
hen im
im Mai;
Mai;
œ
401
& 8 ‰ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ
œ œ œ œ
pœ
? # # # 68 ‰ J ‰ ‰ Jœ ‰ ‰ œ œ j
J ‰‰ J ‰ ‰ Jœ ‰ ‰ J ‰ ‰ œ ‰ ‰
œ
### 6 j A
Textural reduction:
F ˜m
jjŒŒ j Bm œœ. .(œ(œ
) )œ œ
& 8 œ œœ.. œ œ œ œJœJ . œ œ œ ‰‰
EE A 77 77
œœ œœ œ œ (( )) œœ
/D A
jj
406
406
œœ
### 6 ‰
406
406 Ich träum
träum--te von bun
bun--ten
ten Blu-- men,
Blu men, sie wohl
so wie sie wohlblü
blü- hen
- henimim Mai;
Mai;
& 8 œœœœ.... œœœ ... œœœœ..... œœœœ..... œœœ .. 7th7th œœœœ.. .. œœ ..œœ ...
œœ.. œœ. œœ. . œ .. œ .œ
pp
? # # # 68 ‰ œœ.. œ.
7th
7th
œœ.. œœ.. œ. œœ. .

œ .œ .
A: I vi ii6565 V77
V II
YT: 2GGPY3mhqLc
Figure 27.1.3: Schubert, Winterreise, D. 911, “Frühlingstraum” (1823)
The one exception to this is in the progression I – V43 – I6 , which closes the
theme of the first movement of Mozart’s Piano Sonata K. 331.
œ
A¯: I V42 I6 V6 V56 I
373 163
j
27.2. VOICE LEADING SUCCESSIVE SEVENTH CHORDS
œ œ . œ œœ
? b#b# #b 642 œœ œ œ œjœ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ‰ ..
& b 8 œœ œœ œœ œ œ œ œ
p J J
? f œ œœ œ œ œ œœ
? b#b#b#b 6842 œœ œ œ œ œ œ œ œ œ‰ ..
œ J J J
Textural reduction:
œœ œœ œœ 7th
/D¯˜
E¯7A/C E¯7/G
œ œœ
A¯ A¯/C E¯/G A¯
## œœ 7thœœœ
E7/B
œœœœ
A
œœ YT: vp_h649sZ9A
& b b#b b 4342
? œ œ œ œ
œ œ œ
? #b# #b 432 œ œ 7th œ œ
bb 4 œœ œ œ
A: II
A¯: V43 V4 I
6
I6 V6 V56 I
2
##
& #
### 6 œ j œ œ œœ
œ œ œ œ K.œœ 331,
œ Iœ ‰ ..
? ### 8 œ
& œœ œ Mozart, Piano Sonata
J
Figure 27.1.4:
J
f
œ œ œ œ œ œ œœ
? # # # 68 œ œ œ ..
œ
In the example J
below, J up by step.‰
œ oneœ can see Jthat the 7th resolves
A/C˜
##
A E7/B
œœ
& # 43 œœ œœ 7th
œ œ œ
? ### 3 œ
4 œ œ
A: I V43 I6
# # 27.1.5: The I – V3 – I progression with acceptable parallel fifths

& #
4 6
Figure
# # # that parallel fifths occur in this progression because of the upward

?Notice
resolution of the 7th. These parallel fifths may have been deemed less objec-
tionable because they consist of unequal fifths (where one of the fifths is in
a case of parallel fifths is diminished).
27.2 Voice Leading Successive Seventh Chords
Sometimes you will encounter a situation where there are successive seventh
chords. This is especially the case in circle of fifth progressions. When voice
leading a circle of fifths progression with root position seventh chords in four
parts (SATB), alternate between incomplete seventh chords (without the fifth
of the chord) and complete seventh chords, as can be seen in the example below
from Vivaldi’s Concerto for Two Violins and Cello in D minor, RV 565.
374 CHAPTER 27. VOICE LEADING SEVENTH CHORDS 5
7 7 7 5
Dm Gm C Fmaj
&b 44 œœ Œ œœ Œ œœ Œ œœ Œ
7
32 Dm3rd Gm7th C7 3rd Fmaj 7
œ œ
7th
&b 44 œœ Œ œœ Œ œœ Œ œ
œœ Œ
32 3rd 7th 3rd 7th
5th 3rd 7th 3rd
32
œ
œ
String 5th
3rd 3rd
Rt 7th
5th 3rd
Rt
?b 44 œ Œ Œ œ Œ œ Œ
32
Orch.
œ
String 3rd Rt 5th Rt
Orch. ?b 44 œ Rt
Rt Œ
Rt
Rt Œ œ
Rt
Rt Œ œ Rt
Rt Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œVIIœ7œ œ œ œ œ œ IIIœ M7
iv7 (inc.) 7 M7
œ œ(inc.)
œ œœ
d: i VII III (inc.)
?b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ
32
d: i iv7 (inc.)
?b 44
32
Cello
solo
Cello
solo
œ
B¯maj7 Eø7 Am7 Dm7
œœ 7th œœ 3rd œœ 7th œœ 3rd

7
Eø7 7th 7 7
&b œ 3rd ŒŒ 7th Œ Œ 7th Œ

34
B¯maj
3rd Am3rd Dm7th
œ œ 3rd œ
&b œœ 5th œœ 3rd Rt Œ œœ 5th Œ œœ 3rd Œ
34
String
?b
34 7th 7th Rt
œ 5th Rt Œ Rt Œ œ Rt ŒŒ œ RtRt Œ
Orch.
String
?b
34 Rt 5th
œ Rt Œ œ Rt Œ œ Rt Œ
Orch.
iiœø7 (inc.)
œ Rt
œVIœœ œ œœ œ œ œ œœ œii œœ (inc.)
œœœœœœ
VIM7 v7 i7 (inc.)
?b œ œœ œ œœ œ œ œ œœ œ œœ œ œœ œ œ œœ œ
ø7
œœ œ œœœœœœ
M7 7
34
i7 (inc.)
œ œ
v
?b œ œ œ œœœ œ œ œœ œ
34 Cello
solo
Cello
solo
YT: qgJwavKDKgY
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑
36
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑
36
?b ∑ ∑ ∑ ∑ ∑ ∑ ∑
36
? b Vivaldi,
∑ ∑ ∑ Two Violins
∑ ∑ Cello in∑ D minor,∑ RV
36
Figure 27.2.1: Concerto for and
?b
565, V.
∑ ∑ ∑ ∑ ∑ ∑ ∑
36
?b ∑ ∑ ∑ ∑ ∑ ∑ ∑
36
Principle 27.2.2 Voice Leading Successive Root Position 7th chords.

Alternate between complete and incomplete voicings.
If, on the other hand, you are asked to voice lead a circle of fifths progression
involving inverted seventh chords, always resolve the seventh of each chord
down by step and move the other voices smoothly. You will see the following
pattern: two voices will remain on common tones (shown with ties) while the
other two voices resolve downward by step.
œ œœ œœ
& b 44 œœ œœ œœ # œœ ˙˙
164
œ œ œ œ œ ˙
? b 44 œ œ œ œ œ œ ˙
d: iv56 VII42 IIIM65 VIM42 iiø65 V42 i6
Figure 27.2.3: Circle of fifths progression with inverted 7th chords (alternat-
4 œ2 )
& b 4 œœ œœ œœ œœœ œœ œ ˙˙˙
# œœ
ing 65 and 4
œ œ œ
? b 44 œ œ œ œ œ œ ˙
d: iv7 VII43 IIIM7 VIM43 iiø7 V43 i
? b 44 œ œ œ œ œ œ ˙
d: iv56 VII42 IIIM65 M4 iiø65 V42 i6
27.3. VOICE LEADING THE V7 VITO2 I PROGRESSION 375
& b 44 œœœ œœœ œœ

œ œœœ œœ
œ œœ ˙˙˙
#œ
? b 44 œ œ œ œ œ œ ˙
d: iv7 VII43 IIIM7 VIM43 iiø7 V43 i
Figure 27.2.4: Circle of fifths progression with alternating and chords
& 43
7 4
3
4 œœ œœ œœ œœ œœ # œœ ˙˙
& bb 44 œœ
164
œœ œœ œœ œœ # œ ˙˙
164
œœ
? 43 ˙ &˙ 4 œœ œ
œ the
œ œ œ ˙
27.3 Voice ? 4Leading œ V7œ to I œ Progression œ ˙
? b 44 œœ œ œ œ œ œ ˙
bb 4 œ6 7 œœ 4 œœ M6 œœ M4 œ
œ # œœ 2 must˙˙i6deliberately
œ
164
& the
In voice leading 4d: ivœ56V toVIIœI42 progression
III œ M65 VIœinM42 four iiœparts,
ø
ø6
6
5 one
V 4
4 ˙6
choose one of thed:following
iv5 VII2 III 5 VI ii V2 i
? b 44 œœ œ
methods:
œ œ
5
œ œ
2
œ œœ ˙
œ
“Strict”&resolution:
4
4 œ œ œœ œ
œ œœ ˙˙˙
1.
œ œ œ œ
& b 4d: ivœœ56 7 VIIœœ 42 IIIœœM65 VIœœM4œ2 œ #4œœœ
œ and#2œ4̂ and 2̂˙˙˙6 down. This
iiø65œ V i
œ
? b 44resolving œ 3rd of œ the Vœ7 chord œ(7) up and
(a) Complete V to incomplete I: resolve 7̂ up
œ the˙7th and 5th
? b 44 7œ
means œ
the
œ œ œ œ in ˙terminology,
of theb V œœ chord œdown.
œ œ œ œ
& 4 œ œ œ œ4 ˙i
#Vœœof43 the ˙˙chord.
For the sake of consistency
œ below
d: iv
the examples
7
œ 3 label
VII 4 IIIœ 7̂ , 2̂VI
M7
œ , 3and the
M4
œ ø 7
ii 7th V The
d: iv7 VII4 IIIM7 VIM4 iiø7 i
? b 44 œ œ
incomplete I chord3 will have a tripled
3
root and one
3
3rd.
œ œ œ œ ˙
& cc ˙˙˙ 7th7̂7 ˙ ˙˙ 2̂ ˙
˙ 43 ˙ 2̂
IIIM7 ˙ 7̂ VIM43 ˙ iiø7 V˙
˙ ˙
& d:˙ iv7th7̂ ˙ ˙˙43 7th2̂ i ˙˙˙
7th
˙ 2̂ ˙ ˙
VII
? c ˙˙ 2̂ ˙ ˙ 7th ˙˙ 7̂2̂ ˙
7̂
˙ ˙˙ ˙
7th
?c ˙ ˙ ˙ 7̂
˙
˙˙ ˙˙7 2̂ ˙
˙I ˙
& cC: V˙˙ 7 7̂ ˙
I V V ˙
˙ 7 2̂ incomplete
7
7th ˙˙II
˙ 7th incomplete
7̂
˙
V7 7th incomplete
˙ 2̂ incomplete
complete
C: I complete
V7 incomplete I complete
V
? c ˙ V7 (no
complete
˙ fifth) complete
to ˙complete I. ˙˙ 7̂
complete incomplete
˙
˙ ˙ ˙˙˙
(b) Incomplete
& cc ˙˙7 7th ˙
˙ ˙ ˙
˙˙I
˙˙ 7̂
˙˙V7 7̂ ˙˙I
& C:complete
˙V˙ 7th incomplete
˙˙I ˙˙˙ 7 7th7̂ incomplete ˙ ˙
7th
˙
V
˙
? c ˙˙˙ 7̂7̂ ˙ 7̂ ˙˙ ˙ 7th ˙˙
complete complete incomplete
˙
7th
?c ˙ ˙
˙ ˙
˙
˙
˙˙
& C: c V˙˙7 ˙˙I ˙ ˙˙ 7 7̂ ˙I
V
˙7 7̂ complete
7
˙
˙II V
˙ 7th complete
7th
˙
7th
˙
C: V7
incomplete complete
I incomplete
V V7
incomplete completeI
? c ˙ 7̂ ˙
incomplete complete
˙
incomplete complete
˙˙ ˙
incomplete
˙ ˙ ˙
& C: c ˙˙ 7̂ ˙˙
˙ ˙
2. “Free” resolution:
& cnot V˙7 I˙˙ V˙7 I˙
˙ 7th ˙˙ you ˙˙resolve it
7th
˙
V7 I
˙˙ 7̂
7̂
˙ 7thto 5̂ . ˙
7th
(a) If 7̂ isincomplete
in the soprano part, can
˙˙
down bycomplete the interval
of?
complete incomplete complete incomplete
?c c
a third
˙ ˙ ˙˙ 7̂ ˙˙
c ˙
˙ ˙˙
& C: V7 7̂ ˙I ˙˙VV77 7th complete ˙˙I
V7
˙ 7th complete ˙ ˙
C:
complete complete I complete I
?c ˙
complete complete
˙ complete
˙
˙ ˙
7̂
C: V7 I V7 I
complete complete complete complete
In piano music you will sometimes find “improper” resolution of the 7th of a
chord because it fits the hand better. This should be considered an exception
and will not be acceptable in voice leading exercises completed for this class.
43
376 CHAPTER 27. VOICE LEADING SEVENTH CHORDS
b >œ œ œ œ nœ œ œ œ œ. œ ˙
411
&bb c J J
Ces - sa, cru - del, tan - to ri - gor!
b
& b b c œœ œœ n œœ œœ n œœœ œœœ œœ œœœ œœœ œœœ œœ œœ œœ œ œ
411
œ œ œ œ
f
>œ œ œ ˙
? b c œ œ œ ˙
bb
B¯: I6 V46 I V24 I6 IV I46 V7 I
b
&bb
414
YT: -Hlk8EDA02M
b
&bb
414
? b ∑ ∑ ∑ ∑ ∑ ∑
bb
Figure 27.3.1: Giordani, Caro mio ben (1783)
b
&bb
420
27.3.1 Voice Leading I64 to V7

b
&bb
420
When I64 resolves to V7 , beware of parallel fifths if the fifth is above the root
in the I64 chord. If it is, move all upper voices upward to the closest notes of
? b ∑ ∑ ∑ ∑ ∑ ∑
the V7 chord, or to an incomplete V7 (no 5th).
bb solution: inc. V7 chord
˙˙
168 solution: upper voices ascend
& ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
˙˙
|| 5ths
˙ ˙˙ ˙ ˙˙ ˙
? b
b
& b
426
˙ ˙ ˙
bbb
426 C: I6 V7 C: I64 V7 C: I64 V7
&
4
inc.
&
? b bThe ∑Special∑ Resolution ∑ of ∑vii ◦7 (and
∑ ∑)
b
27.4 vii ø7
?
The vii◦ 7 and viiø 7 chords consist entirely of tendency tones (7̂ , 2̂ , 4̂ , 6̂ ).
If one resolves all of those tendency tones correctly (2̂ –1̂ , 4̂ –3̂ , 6̂ –5̂ , 7̂ –8̂ ),
one might write parallel 5ths depending on the voicing of the vii◦ 7 and viiø 7
chord. Therefore, be sure to memorize the following principle:
Principle 27.4.1 Resolving vii◦ 7 . When the 7th of a vii◦ 7 or viiø 7 chord
is &voiced above the 3rd of the chord, resolve the 3rd of the chord (scale degree
2̂ ) up by step while resolving all other tendency tones normally (4̂ –3̂ , 6̂ –5̂ ,
?
7̂ –8̂ ).
&
˙ ˙ ˙ ˙
˙
|| 4ths || 4ths
? ˙ ˙ ˙
27.5. WHEN TO USE SEVENTH CHORDS 377
C: ii6 I64 C: I viio6
& ˙˙ ˙ ˙˙ ˙˙
3rd ˙˙ ˙˙
˙
7th 7th
˙ ˙
3rd 7th
3rd
2̂ 3̂ || 4ths
? ˙˙ ˙˙ ˙˙ ˙˙
|| 5ths
˙ ˙
(solution)
165
C: viiø7 I C: viiø7 I C: viiø7 I
5th ˙
& ˙˙ 5thFigure5th27.4.2:
˙˙ ˙˙ 5th
˙ Resolving viiø 7
&
Root ˙ ˙ Root ˙ ˙ Root
|| 5ths || 5ths
? ˙ ˙ Root
˙ ˙
?The third measure above shows that revoicing the chord is another solution,
C: ii6 4ths are
since parallel I64 not objectionable viio6
C: I in this situation.
If the 7th of the chord is voiced below the 3rd of the chord, resolve all
& ˙˙ ˙˙ ˙ ˙˙ Root
tendency tones normally.
5th ˙
Root Root Root
&
5th 5th
|| 4ths ˙ ˙
5th
˙ ˙
˙
|| 4ths
? ˙ ˙ ˙
?
27.5 When
6
to6 Use Seventh Chords o6
C: ii I4 C: I vii
use ˙seventh chords

˙˙ to add
& ˙˙ as you approach
˙ ˙˙ ˙˙ ˙ are added
In your harmonizations of7thmelodies, it is best to 3rd
˙of dominant
7th
tension tonic function. Therefore, sevenths most fre-
˙ ˙
7th
3rd 3rd
quently to chords function
2̂ ( V
3̂ and vii◦ ) and chords
|| of pre–dominant
4ths
? ˙˙ ( ii and,˙˙to a lesser extent,
˙˙ 7 (solution)
˙
|| 5ths
this reason, seventh chords like iii , vi7 , ˙IVM , and ˙IM are less˙ commonly
function IV ). (See the harmonic flowchart.) For
7 7
used and encountered.

ø7 ø7 ø7
C: vii I C: vii I C: vii I
## œ
& # c œ œ œœ œœ œœ ˙˙ .
.
œ œ œ œ œ œ ˙.
? ### c œ œ œ œ œ
œ ˙.
A: ii vi ii56 V 7 I
###
&
YT: 2dxuAKSxgw0
? ###
Figure 27.5.1: J.S. Bach, Chorale 342, “Lobt Gott, ihr Christen, allzugleich”,
BWV 376
## œ
& # c œ œ œœ œœ œœ ˙˙ .
.
378
œ œ œ
CHAPTER 27. VOICE LEADING SEVENTH CHORDS
œ
? # # c œœ œ œ œ
œ ˙.
#
27.6 Practice Exercises œ œ ˙.
1. Voice leadA:each
ii V7 chord
vi to the iitonic
6
5
using
V either
7 “strict”
I or “free” resolu-
tion as indicated by the terms incomplete (“inc.”) and complete (“comp.”).
Include key signatures.
Example
& # ˙˙ ˙˙
˙ ˙
?
166
& ˙ ˙
? a: V7 i D: V7 I e: V7 i B¯: V7 I
inc. comp. comp. inc. comp. comp. comp. comp.
2. c˜ : V
Voice lead this
7 circle
i of fifths
A: V7 progression
I involving
f: V7 i root position
E¯: V7 seventh
I
chords. Include the
inc. comp.
key signature and
comp. inc.
analyze the figured
comp. comp.
bass symbols in
comp. comp.
order to place Roman numerals in the blanks below the staff. 167
&
&
? œ œ œ œ œ
? œ œ œ œ œ
œ œ œ œ œ7 œ
7 7 7 7 7 7
7 7 7 7 7 7 7˜
b: ____ ____ ____ ____ ____ ____ ____ ____
A: ____ ____ ____ ____ ____ ____ ____ ____
3. Voice lead this circle of fifths progression involving inverted seventh
&#
chords.
&
?
?#
G: IM65 IVM42 viiø65 iii4 vi56 ii4 V56 IM42
&
2 2
b
b b b to download the homework assignment for this chapter.
& here
Click
? here to download the Unit 8 Practice Test.
Click
? bb b
b
f: i42 iv56 VII42 IIIM65 VIM42 iiø56 V42 i65
#
& œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œœ œœ œœ œœ œœ
?# œœ
b
& b bb
? bb b
b
Chapter 28
Voice Leading With Non–Chord

Tones
170
& œœ œœ œœ œœ
? œœ Voice Leading
œ 5th With œ
5th 5th 8ve œTones
8ve
28.1 8ve Non–Chord 5th
œ œ œ
C: I V vi IV
p
& œœ tones are common

Non–chord œœ inœJ.S. Bach’s 371 Chorales, which
œœ œ œœ are our model
for voice leading.
? œœ œ
|| 5
œ œ
n || 5
œ œ œ œ
p
C: I V vi IV
p U
& b c œœ œ (œ ) œ œ œ œ œ œ œœ
p
œ œ œ ( œ) œ œ œ
p sus (9 - 7) n
œ œœ œœ (œ) œ
œ œ (œ) œ œ œœ
? b c œœ œœ
œ œ ( œ) œ ( œ)
( )
p u
p
F: I V6 I V6 vi I6 IV IV6 I
### c œ œœ œœ œ œ œ œœ œœ œœ
& œœ œ
YT: 9m0RWQbSOWA
œ
Figure 28.1.1: J.S. Bach, Chorale 323, “Wie schön leuchtet der Morgenstern”,
œ œœ œ œ œ œ
? ### c œ œœ œ œ
BWV 172
œ œ
œ œ œ œ œ œ
379
? c œ œœ œ œœ œ œ ( œ) œ
b œ œ ( œ)
( )
p u
p
380 I V6 28. VOICE
F: CHAPTER I V6 LEADING
vi I6 WITH IV6
IV NON–CHORD I
TONES
U
## œ
p
& # c œœ œ œœ œœ œ œ œ œœ œœ œœ
( )
œ
p
œ p œ œ p œ œ
p
œ œœ (œ ) œ
? ### c œ œ ( œ) œ
œ œ ( œ) œ
( )
œ œ
u
A: I I IV6 V ii viio6 I6 V I
YT: t5rs2a0Cvr4
Figure 28.1.2: J.S. Bach, Chorale 326, “Allein Gott in der Höh’ sei Erh’,
BWV 104”, BWV 172
28.2 Avoiding Objectionable Parallels
When adding non–chord tones, one must avoid creating objectionable parallels.
To avoid creating parallel 5ths and 8ves when adding non–chord tones, first
identify intervals of 5ths and 8ves between voices in your original voice leading.
170
& œœ œœ œœ œœ
? œœ œ œ œ
8ve 5th 5th 8ve 5th
5th 8ve
œ œ œ
C: I V vi IV
p
Figure 28.2.1: Progression with 8ves and 5ths identified
& œœ œœ œ œœ œ œœ
œ œ
|| 5
œ œ
|| 5
?Avoid
n
œ adding non–chord
œ œ by stepœ into notesœ separated by a
tones that move
5th or 8ve.
p
C: I V vi IV
&
?
? œœ œ œ œ
8ve 5th 5th 8ve 5th
5th 8ve
œ œ œ
28.3. ADDING NON–CHORD TONES TO A CHORD PROGRESSION 381
C: I V vi IV
p
& œœ œœ œ œœ œ œœ
? œœ œ
|| 5
œ œ
n || 5
œ œ œ œ
p
C: I V vi IV
Figure 28.2.2: Parallel 5ths and 8ves created by non–chord tones

&
?It is best to avoid adding non–chord tones in two voices on the same beat
unless they are moving in parallel 3rds or 6ths.
28.3 Adding Non–Chord Tones to a Chord Progression

Here are ideas for how to add non–chord tones (or “embellishments”) to one of
the voice parts of an SATB chord progression.
1. Repeated note: add upper or lower neighbor
& œ œœ œœ œœ œœ œœ
œ
n || 5
œœ œ œ
repeated note n
? œœ œ œœ œ œ
œ œ œ
& œœ
C: I V
œœ œœ 28.3.1
œœ
I V
œœ
I
œœ
V
Figure
&
n || 5
œ œ œ
repeated note n
? œœ œ œ œ œ
œ œ
?
2. Step down:
œ œ œ
(a) Add a suspension by delaying the resolution of the note
C: I V I V I V
(less common)
& œœ
sus 6 - 5
œœ œœ œœ œ œœ œœ œ
&
step down
? ? œœ œ œœ œ œœ œ
sus 4 - 3
œ œ œ
C: I V I V I V
Figure 28.3.2
&&
??
? œœœœ œœœ œœ œ œ œœœ œ œœœ œ œœ œ
œ œ œ œ œ
step down
?&œœ œ œ œ œ œ œ
382
sus 4LEADING
-3
œ
C:CHAPTER
V 28. VOICE I WITHV NON–CHORD TONES
œ œ
I I V
œ
(b) Add an
œ
œ escape œ
œ tone byœmoving œ œ
œ by stepsus œ
in œthe opposite direction of
(less common)
&
6-5
C: Iœ
œ œ Vœœ œ Iœœ œ Vœœœ œ œIœœ œ Vœœœ œ
the original stepwise movement, then leap n || 5
repeated note n
? œ œ
step down œ stepœ down œ œ esc œ
?C:œœ I œ V& œœœœ I œœœ V œœ Iœœ œ œœVœ
sus 4 - 3
œ œ œ
? œœI œV œ I susœV6 - 5
(less common)
& œ œ œœ œ œœ œ
œ œ œ œœ
C: I V
œ œ œ œ
C: Istep down
& œœ sus
esc V
œœ œ œœ
V I
œ
step down
œ œ œ œœ œ œ
4 - 3 28.3.3
? œ œ œ
Figure
& œ œœ œœ
? œœ œœ
œV œV
?
C: I V I I
(c) Add a double neighbor
C: I V I V
step down
& œœ
esc
œ œœ œ œœ
& œœ œ œ œœ œ œ œ œœ
œœ
? œœ œœ œ
step down œ œ
?C: œœI œ V œœ I œV
dn
œ œ
& œœ œœFigure œœ28.3.4
œ œ œ œœ
C: I V I V
& step down

? œœ œ œœ œ
dn
? œ
(d) Add a chromatic passing tone
œ
C: I V I V
step down chro. p

& œœ œœ œœ b œ œœ
? œœ œ œœ œ
œ œ
C: I V I V
Figure 28.3.5
(e) Add an anticipation

175
28.3. ADDING NON–CHORD TONES TO A CHORD PROGRESSION 383
step up antret
& œœ œœ.
step down
& œœ œœœ œœ œ œœœ œ

œ œ
? œ œ œœ œœœœ
? œœ œœœ œ
175
œstep up œ ret
&C:C: IœV VœI œœV œœ œ
œ
œ Figure 28.3.6
I V
I
step up dn
& œœ
? œœ œ œ œ œœœ œœ
œ œœ œœ
? œ œI œ V Iœ
3. Step up:
œ
C: V œ œ œ
steppassing
up dn
& œœ œœ œœœœ œI
(a) Add a chromatic tone
œ
C: V I V
œ chro. p
?& œœ œœ œ œ œœ
step up
œœ œ œ œœ # œ
? Vœ I œœ V œ œI
œ
œ œ
C:
step up chro. p
& œ
C: V I
œœ œœ # œ œœ
V I
œ Figure 28.3.7
?& œ œœ œ œ
œ
œ œ
?
(b) Add an anticipation
C: V I V I
step up ant
& œœ œ œ. œœ
œ œ œ
?& œ œœ œ œœ
œ œ
?
C: V I V I
Figure 28.3.8
&
?
(c) Add an appoggiatura by leaping one step beyond the note of reso-
lution, placing the appogiatura on the beat, displacing the note of
resolution to occur after the beat
?œ œœ œ œœ
œ œ
384 CHAPTER 28. VOICE LEADING WITH NON–CHORD TONES
C: V I V I
app
œ œ
step up
& œœ œ œ
œ œ œ
?œ œœ œ œœ
œ œ
175
step up ret
& œ
C: V I
œœ œœ
V
œœ œ
I
œ Figure 28.3.9
? œ œœ œ œœ
œ œ
(d) Add a double neighbor
C: V I V I
step up dn
& œœ œ œ œ œ œ œœ
œ œ
?œ œ
œ
œ œ
œ
œ œ
C: V I V I
Figure 28.3.10
&
?
(e) Add retardation by delaying resolution of the note (rarely used)
175
step up ret
& œ œœ œœ œœ œ
œ
&
? œ œœ œ œœ
?œ œ
C: V I V I
Figure 28.3.11
step up dn
& œœ œ œ œ œ œ œœ
œ œ
&
?œ œœ œ œœ
?œ œ
4. Leap of 3rd:
(a) Fill in theC:

3rdVwith aI passingVtone I
&
?
? œœ
œ œ
œ
œ
œ ant œ
&C: œœI œI . œ Vœ
step down
œV
ADDING NON–CHORD TONES TO A CHORD PROGRESSION 385
œ
28.3.
œ œ
? œœ œœ œœ œ œœ
leap of 3rd p
& œœ œœ
C: œI œ Iœ Vœ
? œ œ œ p œ
V
21
leap of 3rd 21
C: œI B¯≤7 œii Cm/B¯≤œI B¯≤œ Aø/B¯≤

Cm/B¯≤ B¯≤ œ Cm/B¯≤ B¯≤ A œ
& œ œ œ B¯≤ Aø/B¯≤7 F7/B¯≤ B¯≤
B¯≤7 Cm/B¯≤ 7 ø7 B¯≤ Aø7 F7 B¯≤
7
ii7
B¯≤
b 4 œ ®œ. Ÿœapp(œ ) œ pt . Ÿœapp

(œ ) œ pt œ . œ́ ≈ œ . ret. œj ‰
/B¯≤ /B¯≤
œ (œ )œœ
/B¯≤
. Ÿ (œ ) œ œ 9-8 œ . Ÿœ (œ ) œ (œ ) œ Rœ́ ≈ œœ œ. œœ Rœ́ ≈ œ . œœ (((œœœœ)) ) œœj ‰

(œ
app pt Figure 28.3.12 app
pt ret.
b ) œ (œ )of
œ ®œ œ́ ≈
302
app
& b 44 J
9-8
& b 4 œJ ®œ œ ? ( œœ) œ (œ ) œ ®œ œ œR
leap 3rd
& œ œœby leapingœœ oneR step œ œ beyond

302
œœœ) -) 3 œœof
j
(b) Add an appoggiatura the (49(note sus.reso-
≈ beat,
- (8)
bb 4 resolution to œ œ
œœj ‰
4 - 3 sus.
lution, placing the appogiatura on the displacing 9 the - (8) note of
& b 44 œ œ b œ œ œœ œ œafter œœ( # œthe œ beat œ ≈ œ œœœ œ œ œœ œ ?

œ œ œ œœ œ œ œ œ œœœœ ‰ œ
C: occur
I ii I ii
œ
& b 4 œ˙ œ œ b œ œ? œœ ˙œ œ œœapp #( œ ) œ œ œ œ œœapp
?
œ œœ œœ œœ œ œ œœ
œ
)
œ˙ ˙
œI œI D7œœI œ
leap of 3rd
app
G/B &C: œœAm/C

I
œ G/D œ appD7 nt G
# 3 œ ( œ) œ
G/B Am/C G/D G
& # 43 ≈≈ œ (œ) ?œ (##œœœ ) œœ œœœ œ œ . œ œ app œ nt ..

304
( œ) œ œ œ Œ
9 - 8 sus.
œœ œ
(œ ) œœ œ . œ œ (œœœ) œœ (( œ)) œ ..
304
Œ
9 - 8 sus.
& 4 œœ œ
( )
(( ))
app (ret.
)
app
œ œ œ œ œ œ (œ˙ ) œ
app ret.
4 - 3 sus.
œ œ œ œ œ œ 28.3.13
C: app
?# 433 œ œ œœ œ
I I I I
œ œ œ œ œ œ œ (œ˙ ) œ Œ ..
4 - 3 sus.
?# œ œ Figure
œ œ ..
4 œ œ œ œ Œ
5. Leaps
G: Iof
/3rd4th or larger:
ii/3rddo not embellish
I/5th (for
V7 now) I
Here is a basic framework with all possibilities labeled.
#
G D Em C
˙˙ 44 ˙˙
307
&#
G D Em C
˙˙ ˙˙ ˙˙
˙˙
307
& 4 ˙˙ ˙˙
step down step down
step down repeated note
note
repeated
˙ ˙ ˙˙ ˙
?# 4 ˙ ˙˙ ˙˙
repeated note leap of 3rd step up
?# 4 ˙ ˙ ˙
repeated note
˙
leap of 3rd
4
step up step up
step up
G: I V vi IV
G: I V vi IV
Here is one possible solution:
G D Em C
#
& # 44 œ˙œ
309
œ
G esc. D 4-3 sus
Em nt C
˙(œ ) œ œ˙4-3 sus œ (œnt) ˙˙
309
œ
esc.
& 4 ˙ ˙(œ4-3) sus œ œ˙ œ (œ ) ˙˙

( )
( )
( )
( )
4-3 sus pt
œ œ œ (œ ) (œ )
app
œ ˙œ œ
nt
? # 4 ˙œ
pt
œ˙ œ (œ ) œ (œ ) (œ˙)
app
œ ˙œ œ
nt
? # 44 ˙
( )
˙ œ (œ ) ˙
( )
pt
G: I V vi pt IV
G: I V vi IV
#
n
& c œœ
esc sus ant
# œœ œ œ
œ œœ œ #œ ˙
386 CHAPTER 28. ant
VOICE LEADING WITH ˙ TONES
NON–CHORD
œ
sus
œ œ
dn
? # œ œ œ œ voices˙ on the same

p
c when non–chord
Notice that, œ œ tones are
œ added œto different
œ
beat, consonant intervals (3rds, 5ths, 6ths, or 8ves) are made. If consonant
p
intervals can’t be made, the voices are staggered rhythmically (as occurs on
e: ____ ____ ____ ____
beats 3 and 4 in measure one of the example ____
above). ____ ____
## c
&
? # # ctheœ chordsœ with Roman œ œ
œ the blanks ˙ the staff,
œ
1. Analyze numerals in below
then add the specified non–chord tones, specifying suspensions with the
171
appropriate interval numbers. ˜
#
b: ____ ____ ____ ____ ____ ____ ____
n
& c œœ
esc sus ant
&b c # œœ œ œœ œœ # œœ ˙
˙
œ
sus ant
œ œ
dn
?
? #b cc œ œœ œ œœ ˙
p
œ œ œ
p
F: I vi IV V vi IV I ____ 171
e: ____ ____ ____ ____ ____ ____
#
n
& c œœ
esc sus ant
# œœ œ œœ œœ # œœ ˙
˙
? #
? ## c œœ esc œœ
ant
?
sus
œ
dn 171
œœ œ œ
œ n œ sus œ ant ˙
p
# c
& the
Analyze œœ figured
# œœ add œ p to write
bass below œœ Roman œœ numerals
# œœ (1) ˙ blanks be-
in the
˙ suspensions,
2.
low the staff. Then the following non–chord tones: 3
# passing
& ## c œœ
e: ____sus ____ ant ____ ____ ____ dn ____ ____
?
(2) one
œ œœ
tone, (3) one neighbor
œ œ œœ
tone, and (4) one anticipation.
˙
p
# c œ œ œ
&
?# p
? ## c œ œ œ œ œ ˙
œ
e: ____ ____ ____ ____ ____ ____ ____
#
& # c b: ____ ____ ____ ____
˜
____ ____ ____
# c
?non–chord ˙ a neighbor
œ one, (2)
Voice lead the following Roman numeral progression then add the follow-
œ (1) a œneighborœ tone during
œ beat
3.
&
ing # œ tones:
tone during beat two, (3) an appoggiatura on beat 3, (4) a suspension on
˜
beat four, (5) a suspension on beat 5, (6) an anticipation during beat six,
? (7)
and # # a suspension on beat 7.
b: ____ ____ ____ ____ ____ ____ ____
&b c
?b c
F: I vi IV V vi IV I
& b to download the homework assignment for this chapter.

Click here
?
b
? œœ œ œ
œ
œ
œ œ
C: I V I V
leap of 3rd p
& œœ œœ œ œœ œœ
œ œ
Chapter 29
œ œ
? œ œ œ œ
Voice Leading Chromatic Har-
C: I ii I ii
monies
app
œ œ œ
leap of 3rd
&Voice œ œ Secondary œ œ Chords

29.1 œ Leading œ
œ œ œ œ
? chords: œ
for seventh œ œ œ
When voice leading secondary chords, one largely follows voice leading rules
C: I I I I
1. Resolve the 7th of a chord down by step.
7th
& # œœ œœ
? œœ œ
C: V7/V V
2. Alternate complete voicings with incomplete voicings when voice lead-

ing successive root position seventh chords . Note that with secondary
chords, the 3rd of the chord, typically a raised note, will resolve down by
half step to the 7th of the chord, which is a diatonic note that cancels
out the chromaticism of the previous note.
387
388 CHAPTER 29. VOICE LEADING CHROMATIC HARMONIES
# œ 3rd nœ #œ nœ
& c # œ 5th œ œ œ
7th 3rd 7th
Root 5th Root
? c œœ 7th # œœ nœ # œœ
œ
3rd 7th 3rd
Root Root Root Root
C: V7/iii V7/vi V7/ii V7/V

complete incomplete complete incomplete
177
3. Follow the principle for resolving vii◦ 7 and viiø 7 when dealing with sec-
ondary vii◦ 7 and viiø 7 chords.
& œœ 7th œœ
177
3rd
? # œœ œ
&œ œœ 7th œœ
3rd
? # œœ œœ
C: viio7/ii ii
(a) An important exception occurs when vii◦ 7 V or viiø 7 V resolves

to V. If the melody requires the 7th of the chord to be voiced above

the 3rd of the chord, solve the example by writing
o7 parallel (unequal)
C: vii
fifths instead of the doubling of the leading tone,/ii ii
which is considered
less acceptable.
bb
œ 7th n œœ œ 7th œ
|| 5ths
& b n œ 3rd n œ 3rd œ

doubled 3rd unequal 5ths
? b # œœ # œœ
(avoid on V) (preferable)
n œœ n œœ
bb
c: viio7/V V viio7/V V
&
29.2 Voice Leading Borrowed Chords
Borrowed chords, or chords making use of mode mixture, are handled similarly
?
to their diatonic versions in terms of voice leading, e.g., iiø 7 is handled similarly
to ii7 . In any of the borrowed chords with 26̂ , resolve this tendency tone down
by step whenever possible.
b
&b
389
? b
29.3. VOICE LEADING THE NEAPOLITAN CHORD
b
Principle 29.2.1 Voice Leading Borrowed Chords. Resolve 26̂ down by
step when ____
it is a ____
chord member
____ of a____
borrowed
I6 chord.
V I 4
& œœ b œœ œœ œœ b œœ œœ œœ b œœ œœ
? œ œ œ œ œ œ œ œ
b œ
&b c
182
C: I iiø7 V C: I iv I64 C: I viio7 I
?Figure
bcb c
29.2.2: Resolving 26̂ down when voice leading borrowed chords
&
Bb:situation
Another ____ ____ ____may____
where you ____
encounter Fr+6 chordVis the V –2 VI
a borrowed
? c which should be handled exactly as the deceptive cadence in minor is
cadence,
b
& b in contrary motion to the bass.
handled—resolve the 3rd of the V chord up by step and move the other two
voices
There are no specific rules for other borrowed chords such as 2 III , 2 VII , i ,
? b parallels.
and v ; simply voice lead them as smoothly as possible while avoiding objec-
& b
tionable
____ ____ ____ ____ I46 V I
? Voice Leading the Neapolitan Chord

29.3
& œœare twob œœ rules for
There
œœ œœ
voice leading
œœ 6 œœ
bthe œœ
N chord in four
b œœ
parts:
œœ
1. Double the bassœœ (the third) œ
? œ œ œ œ œ œ
œ
2. Resolve 22̂ ø7down to the nearest note in the6 next chord.
C: I ii V C: I iv I4 C: I viio7 I
b b œœ b œœ œœ b œœ n œœ n œœ
& b b œœ n œœ œœ œœ n œœ
œ œ œœ œ œ œ œœ œ œ œ œ
? bb œ œ œ œ œ œ œ #œ œ
b
c: i N6 V c: i N6 i6 V c: i N6 viio7/V V
Figure 29.3.1: Resolving 22̂ down when voice leading N6
&c
?c
29.4 Voice Leading Augmented Sixth Chords
It may be helpful to review the three types of augmented sixth chords before
discussing how one voice leads them.
The salient accidental in all three augmented sixth chords is 44̂ , which
almost always resolves upward to 5̂ .
390 CHAPTER 29. VOICE LEADING CHROMATIC HARMONIES 183
not used
& # œœ # œœ œ
#œ # œœ œ
# œ # œœ 183
œœ œ œœ œ œnot|| 5usedœ
? # œœœ œœ œœ # œœ
# œœ
& œ # œ
#œ #œ œ
183
œœ # œœœ # œœ œœ44̂#toœœ 5̂ in#œœœresolution to œœV

#œœœœ 29.4.1: œ
a: It+6 V a: Fr+6 V not used
a: Ger||+65 V
& #? œ Figure
œ œ
? œœ œ œœ œ œœ || 5 œ
œ+6 V œ a: Fr+6 Vœ
& Thea:44̂ It
scale degree a: Ger+6
also resolves to 5̂ when an augmented sixthVchord re-
solves
a: It+6to the
V Cadential
a: Fr+64 chord.
6
V a: Ger+6 V
? œ œœœ œœ
# œœ # œœ œœœœ # œœ
& #&
œ #œ #œœ
œœ œœ
? œœ œœ œœœ œ œœ œ
œœ œœœ œœ œ
œ
? œ œ
œ
œ
a: It+6 i46 a: Fr +6 i64 a: Ger+6
i 6
4
& a: It+6 i46 a: Fr+6 i64 a: Ger+6 i64

& # œœ n # œœ
Figure 29.4.2: 44̂ to 5̂ in resolution to Cadential 6
4
? & ? œ œ œ œ
With the enharmonic German augmented sixth chord (abbreviated EnGer +6
,
containing 26̂ , 1̂ , 42̂ , and 44̂ ), 42̂ and 44̂ resolve7 upward to members of a major
a: Fr+6 V
I4 chord.
6
? ###
& œœ
# # œœ
& ? # # # n œœ œœ
?
&
A: EnGer+6 I64
Figure 29.4.3: 42̂ to 42̂ resolving upward when in an EnGer+6
&
? ?
The exception to 44̂ to 5̂ occurs when an augmented sixth chord resolves to
V , in which case 44̂ resolves to 64̂ , which is the 7th of the V7 chord.
7
a: It+6 i46 a: Fr+6 i64 a: Ger+6 i64
& # œœ n # œœ
? œœ œ
œ
a: Fr+6 V7
Figure 29.4.4: 44̂ to 64̂ in resolution to V7
If you voice lead an augmented sixth chord to something other than V , V7 ,

or i64 , move all of the voices smoothly while avoiding objectionable parallels
and employing proper doublings.

177
& œ 7th œœ
Day One
1. Analyze the figured bass to provide Roman numerals œin3rdthe blanks
below the staff, then voice lead the progression. Include the key sig-
178
nature. ? œ œœ #œ
& C: viio7/ii ii
? œ b œ 7th œ œ n œ ˙
œ 7th œ
|| 5ths
œ œ & bœ b n œ 3rd n œ n œ 3rd œ

7 7 7 7
Ω Ω Ω
? b # œœ œ ____ # œœ ____ n œœ
A¯: ____ ____ ________ ____n œ
Voice lead the following Romanb numeral b

b b
progression. Include the key
œ
2.
& b b œ œ
œ n œ
œ b œ
œ œ V 1 suspension,
œœ viio7/V˙ 1Vpassing
œ
signature. Add the following non–chord o7/V tones:
˙
c: vii
tone, 1 anticipation, and 3 neighbor tones.
œ nœ bœ nœ œœ
? bb
& bb œ œ œ
œ n œœ ˙˙
? A¯: ____ I V7/vi

____
V7/ii
____
V7/V
____
V
____
viio7/vi
____
vi
____
free res.
comp. inc. comp
A: I viio7/ii ii V24 I6 V65 /V V
&
?
?
D: I V42 /IV IV6 viio7/V V viio7/vi vi

Day Two
&
&
?
? œ œ œ nœ œ nœ ˙
4+ 6 ¯7 7 Ω
2 ¯5
? œ œ œ œ ˙
392 œ
CHAPTER 29. VOICE LEADING CHROMATIC HARMONIES
œ
# œ œ œ 43 # œ n œ # œ œ
7 7 6
b œ b œ œ in œtheœblanks
˜
œ œ œ œ œ____œnumerals
˜
180
3. & G: œ____
Analyze the ˙œ ____
œ figured
œ bass
œ ____ œ # œ Roman
œto#provide
œ ____ ˙ ____ ____ œ œ be-
œ
low the staff, then voice lead the progressions in chorale style. Include
the keyœsignatures.
bœ ˙ Include œ b œ in˙each measure.
œ œoneœ suspension
œ œ #œ œ œ œ œ œ
?b œ œ ˙ œ # # œ
œ œ ˙ œ œ œ
& ¯ 6 ¯6 7 ˜
˜
vi ___
iv ___
V i6
a: ___ ___vii N6
o7
___/V___
V G: ii7 viio7 I e: VI N6 V7 VI
?
F: ___
œ œ ˙ œ œ #œ œ œ œ ˙ œ œ œ œ
& F: œ¯ œ œ¯6 ˜bœ

˜
nœ œ n˙
6 7
___ ___ ___ a: ___ ___ ___ ___ G: ii 7 o7 vii I e: VI N6 V7 VI
?
Day Three &
Analyze
Rom. num.: the
____figured
____ bass to provide
N6 Roman
viio7/V numerals in the blanks
the œstaff.
4. ____ ____ ____
184
? func.:
below n œ lead
Voice n œ the____
œ œ
progressions in œ
chorale n ˙
style.
prol. Include
&key signatures.
Harm. ton. dom. ton. ____ dom. ton.
the
6 6 Ω5
&
4+ ¯6 6
3
?
¯3
œ
4
A: ____ nœ
____ ____œ n œ____ œ____ # œ ____ œ ____ n œ
? œ b œ œΩ3 n œ b œ 34+ œ 4 œ b œΩ œ œ œ œ
4 6 6 6 7 Ω5
&
E: ____6 ____ ____
6 6____ 6 ____ ____ ____ ____
5 4
? D:
4
&
3 3
___ ___ ___ f: ___ ___ ___ G: V43/V EnGer+6 I64 b: i6 It+6 V
? œ œ œ œ œV œ
iiø56 ¯VI
œN œ
E¯: I V 6 I
Day Four & 6 6 ¯7 7 ¯7 ¯7 7
5. Voice lead the following
4
3
Roman
4 ΩnumeralΩ progression.
Ω Include the key
signature. Add the following non–chord tones: an escape tone, a 4–3
? œ b¯: ____ œ____ b tone.
n œ b œ andœ a passing
bœ œ œ œ
œ ____œ ____
____ ____ ____ ____
œ
suspension, an anticipation,
&
A¯: vi Fr+6 V7 ¯VI N6 viio7/V V vi
&
?
Click here to f ˜: i
download the
V42/V Unit
V6 9 vii
Practice
o4/iv
3 Test.
IV6 Ger+6 N6 V7
b
& b b b œœ œ œœ œœ œ œ b ∫ œœ n œœ œœ . œ œ
œ
œ nœ bœ œ
A b œœ œ
bœ œœ œœ
? bb b œ bœ œ œ nœ
b
esc, 4-3 sus, p, ant

b
186
&bb
? bb
b
E¯: I viio43/IV IV6 EnGer+6 I64 viio7/vi vi
##
& # c
Chapter 30
? ### c œ œ œ nœ œ ˙
œ
Introduction to CounterpointΩ 7 6
4
3
Ω5
3
A: ____ ____ ____ ____ ____ ____ ____
# c
& Species
30.1 Counterpoint
? teaches
# c œ contrapuntal
The seminal composition text, Gradus ad Parnassum (1725), by Johann Joseph
Fux, #œ nœ # œ through n“species
composition œ œ ˙
counterpoint.” Species
counterpoint uses simple rhythmic values and teaches composers how to write
one, two, three, or 7four notes
4+ against
6 a larger value,
6 usually
˜ a whole note. In
this text, we will focus on Ωwriting for two voices.
4
3 In a semester-long college
course e:in ____
counterpoint,
____ one typically
____ ____learns to____
write for____
up to four
____ voices.
Counterpoint can be thought of as the simultaneous sounding of two or
more melodic lines. An example is shown below.
## # j
Melody 3
˙ œ œ œœ œ œ œœ œ œ œ œ œ œ œ
& # ## # c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœ œ ‰
œ œ
œ œœœ œ œ œ œ œ œœœ
Melody 2
? # # # # # # c ‰ œJ œ œ œ œ œ J
#
Melody 1
YT: YGHj2CmNz0E
Figure 30.1.1: Bach, J.S., Well–Tempered Clavier, Book I, Fugue 3 in

C–sharp major, BWV 848
Textures made of counterpoint are called “contrapuntal” and can be con-

trasted with melody–accompaniment textures, which are called “homophonic.”
393
394 CHAPTER 30. INTRODUCTION TO COUNTERPOINT
30.2 First Species Counterpoint
In first species, we will write note–against–note counterpoint in whole notes.

You will be given a melody, called the cantus firmus (abbreviated “c.f.”),
against which you will write a counterpoint.
4 ∑ ∑ ∑ ∑ ∑ ∑
&4
& 44 w w w w w w
c.f. (cantus firmus, a pre-existing melody)
Figure
Intervallic distance from cantus firmus 30.2.1
to counterpoint:
w 44 ∑ several
8
&Fux44 &
____
enumerates
∑ to follow
∑ rules ∑ ∑ to write
∑ ∑in proper∑ ∑sixteenth–century
∑∑
style (the style of Palestrina). Since this is a brief introduction to writing in
& 44 follow stricter

species counterpoint, the rules below are slightly modified and simplified. You
would4likely w course
w rules in wa semester–long w in counterpoint.
&4 w w w w w w w
w
4
∑ ∑ ∑ ∑ ∑ ∑
1. Begin
c.f. with an octave or unison.
&4
Intervallic
Intervallic distance
distance from from cantus
cantus firmus
firmus to counterpoint:
to counterpoint:
8
4
____
&w 4 ww ∑ w∑ ∑ w∑ ∑ ∑ ∑
8 6 8
4
____ ____ ____
&4 ∑w ww ww
& 44 wdistance fromwcantus firmusw to counterpoint:

7ˆ 8ˆ
4
&4 w w w
w
Intervallic
8 w w w w w
& 44 w
____
c.f.
c.f.
∑ ∑
Intervallic distance from cantus firmus to counterpoint: ∑ 2ˆ ∑ 1ˆ ∑
w
w 44 w wwwww 105 8 6∑ wwww 105 8∑6 wwww 3 5∑6 8 ww
2. End 8 octave or unison. 6 8
8 on____
an ____ ____
& 44 & ww
____ 6
____ 8
____
&
3. Approach
4 3w 3 w
w the ending octave wor unison by contraryw7ˆ motion; wone of the
8ˆ
parts4will
4Intervallic
& 4 wdistance fromwcantus firmusw to counterpoint:
end with – while the other ends with – .
w
c.f. 7̂ 8̂
all possible consonances 2̂ 1̂
&4 w w w w
w c.f.
8
w w 62ˆ
w
81ˆ
& 44 ____
____ ____ ____
w8 ∑ ∑ ∑ w w
c.f.
w 10 w w
& 44 w wwww 3 5 8 6 wwww 3 5 8 6 www 3 5 6 8
6 8
w
____ ____
10
w
7ˆ 8ˆ
4
&4 w w consonances
w all possible w w w
& 44 c.f.
w w w w 2ˆ
w w
1ˆ
w w
w w
c.f.
4 w w
8 6 8
4 w toexample www 3 5 6 wDw 3dorian, w use a

____ ____ ____
& sharp wwis3 5in8 6G mixolydian, wor A aeolian,

createwthe
10 10 8
(a) If the 8
56
leading tone (F4, C4, and G4 respectively).
4
all possible consonances
&4 w w w w w w
c.f.
&4 w
4
& 4 w4 ∑
contrary “perfect”
∑ ∑ ∑ ∑
&4
motion consonance
w w w w w w 395
& 44 wc.f.
30.3. SECOND SPECIES COUNTERPOINT
Use a sharp w
w w w w
c.f.# w w
to create the leading tone at the final cadence
#w w w
&
Intervallic distance from cantus firmus to counterpoint:
#w
4 &w w w
8
____ 6
____ 8
____
∑ w∑ w∑ ww ww
&4 c.f. c.f. c.f.
7ˆ A aeolian 8ˆ
4
G mixolydian D dorian
& 4 consonant w w w measurew (unisons, w3rds, 5ths,

4. Create w harmonic intervals in each
∑ 7ths) are not allowed in first species

∑ 2 counterpoint.
6ths, and their compound versions—10ths, 12ths, ˆ 13ths, etc.). Disso-
nances &
c.f. 1ˆ
(2nds, 4ths,
w 10 ww 10
& 44 w wwww 3 5 8 6 www 3 5 8 6 wwww 3 5 6 8 w
8 6 8
w
____ ____ ____
& ∑ ∑
& 44 ww
8 5 3 3 6 8
w
____ ____ ____ consonances
____ ____ ____
ww ww w
all possible
ww w w
& ∑ ∑ ∑
& 44
contrary “perfect”
c.f. motion consonance
w
(a) “Imperfect” w
consonances
w
w(3rds and 6ths) can be
w approached
w in any
∑ ∑ ∑
manner
&
c.f.
i. aDo not use more than tone
three consecutive
final cadence3rds or 6ths
#w w
Use sharp to create the leading at the
# w in orderw 8ves, 12ths) may only

& proached in contrary motion w 5ths wand direct
to avoid#direct
(b) “Perfect” consonances (unisons, 5ths, be ap-
8ves (you may wish to review the Types of Motion).
& thew following

w leaps are wallowed: 3rds,
w 4ths, 5ths, ascending minor
and 8ves (review the Rules of Melody withw regard towdirection
5. Only
sixths,c.f.
changes after leaps). c.f. c.f.
G mixolydian D dorian A aeolian
6. Avoid melodically outlining a tritone by changing directions at two turn-
ing points in a melody.
4 w w w w
tritone
&4 w w w w
tritone
melody changes melody changes melody changes
4
direction on B direction on F
&4
direction on B
w w w w w w w w
c.f.
7. Avoid repeating notes in order to create a flowing melody

Following these rules may seem dry and uninspired, but these rules come from
& and ∑ can make any composer

∑ ∑
observations of note–by–note details in Renaissance masterpieces by composers
like Palestrina better and more aware of what they
are writing.
Go to First Species Practice Exercises.
& ∑ ∑ ∑
30.3 Second Species Counterpoint
In second species, one writes two half notes against a cantus firmus in whole
notes. (Second species can also include writing three half notes against a cantus
c.f. c.f.
G mixolydian D dorian A aeolian
44 w wholew notes win 32 .) Thew rulesw are generally

w
tritone
w samewas first
tritone
&
firmus of dotted the
species except that one simple dissonance is allowed in second species: the
melody changes
passing tone. Please seechanges
melody the details below. direction on F melody changes
& 44your
direction on B direction on B
1. Begin w
w counterpoint wwith a half w or wunison onw either
w note wat the octave
the first or third beat of the measure; if starting on the third beat, put
c.f.
a half rest at the beginning of the measure.
Intervallic distance from cantus firmus to counterpoint:
8
w
____
w
& 44 w
c.f.
w w w
& 44 Ó ˙
∑ ∑ ∑ ∑ ∑
2. End with a whole note on an octave or unison, using one of these con-
cluding formulas:
(a) If the cantus firmus is in the lower part, approach the final octave
with intervals of a fifth and sixth (6̂ –7̂ against 2̂ in the cantus
firmus).
(b) If the cantus firmus is in the upper part, approach the final octave
or unison with the intervals of a fifth and third (5̂ –7̂ against 2̂ in
the cantus firmus).
(c) Phrygian mode has an exception: if the cantus firmus is in the upper
part, approach the final octave or unison with the intervals of a sixth
to a third (4̂ –27̂ against 22̂ in the cantus firmus).
Concluding formulas:
Int: 5 6 8 5 3 1 6 3 1
w w w w w
& ˙ #˙
c.f. c.f.
w
6ˆ 7ˆ
&w ˙ #˙ w ˙ ˙
w
c.f. 5ˆ 7ˆ 4ˆ 7ˆ
cantus firmus cantus firmus cantus firmus in upper
in lower voice in upper voice voice in phrygian mode
& (unison, 3rd, 5th, 6th, 8ve, or∑ compound interval equivalent).
3. Of the two half notes you write in each measure, the first must always be a
consonance
If the second is a dissonance, it can only be a passing tone (approached
and left by step). Otherwise, the second note must be a consonance. The
& ∑
only allowable leaps are the same as in first species.
4. When crossing barlines, apply the following:
(a) “Imperfect” consonances (3rds and 6ths) can be approached in any

manner.
&
(b) “Perfect” ∑ 8ves, 12ths) may only be ap-
consonances (unisons, 5ths,
proached in contrary motion in order to avoid direct 5ths and direct
8ves.
&
(c) Do not repeat notes across barlines
∑
& ∑
4 w w w w w w
w
c.f.
&4
perfect perfect perfect
397
4 ˙ #˙ w
30.4. THIRD SPECIES COUNTERPOINT
consonance
&4 Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
consonance consonance
5. Avoid 8ves on consecutive downbeats

pt and avoid 5ths on consecutive
contrary contrary contrary
downbeats
motion
unless there is the leap of 4th occurring after the 8ve or 5th
motion
motion
Int: 5on the6 downbeat
8 5 3 1 6 3 1
w w w w8 w
& ˙ #˙
c.f. c.f.
˙ ˙
& 44 ˙ w
8 5 8 5
˙
w
6ˆ 7ˆ
4 ˙ #˙ w ˙w ˙
P4↓ P4↓
&w w& 4 w w
c.f. ˆ
c.f. 7ˆ 5 4ˆ 7ˆ
Notice that dissonant interval numbers
in lower voice in upper(2, 4, tt, 7) arevoice
voice circled to highlight
in phrygian modethat
they must be handled in a special manner.
& 8 5 ___
3 6 ∑___
7 3 ___
6 8 ___
3 5 ___
3 1
w w
___ ___ ___ ___ ___ ___ ___
4 w
c.f.
w w w w
&4
& perfect ∑ perfect perfect
& 44 Ó ˙ ˙ #˙ w
consonance consonance consonance
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
pt
motion motion motion
Go to Second Species Practice Exercises.
& Third Species Counterpoint ∑

30.4
In third species, one writes four quarter notes to each whole note in the cantus
&
firmus. Use the following rules.
∑
1. Begin on an octave or unison. Write four quarter notes to each whole
note in the cantus firmus except for the final measure.
2. End on a whole note on an octave or unison with the penultimate measure

using one of the following formulas:
&
(a) If the cantus firmus is in the lower voice, the penultimate measure
of the upper voice can be:
∑
i. 4̂ –5̂ –6̂ –7̂ , or
ii. 2̂ –1̂ –6̂ –7̂ (the cambiata—see 5.b. below)
& (b) If the cantus firmus is in the upper part, the penultimate measure ∑
of the lower voice is 7̂ –5̂ –6̂ –7̂ .
Int: 3 4 5 6 8 8 7 5 6 8 3 5 4 3 1
œ ptœ œ # œ w w
& œ œ œ #œ w w
c.f.
pt
#œ œ œ œ w
4ˆ 5ˆ 6ˆ 7ˆ 2ˆ 1ˆ 6ˆ 7ˆ pt
&w w w w
c.f. c.f. 7ˆ 5ˆ 6ˆ 7ˆ
∑ ∑ ∑
3. Each downbeat should be a consonance.
&
& ∑ ∑ ∑
c.f. 5ˆ 7ˆ 4ˆ 7ˆ
in lower voice in upper voice voice in phrygian mode
8 ___
5 ___
3 6 ___
7 3 ___
6 8 ___
3 5 ___
3 1
w w
___ ___ ___ ___ ___ ___
4 w w
w consonances w w
4. When
c.f. crossing barlines, apply the following:
& 4(a) “Imperfect” (3rds and 6ths) can be approached in any
manner. perfect perfect perfect
& 44 Ó proached
(b) “Perfect” consonances (unisons, 5ths, 8ves, 12ths) may onlyw be ap-
˙ #5ths
˙ and direct
consonance consonance consonance
˙ ˙ ˙ motion
˙ in contrary ˙ ˙ ˙ to˙ avoid
in order ˙ direct
8ves. pt
(c) Do not repeat notes across barlines
motion motion motion
5. Allowable dissonances:
4 ˙
8
˙
5
˙
8 5
˙
(a) Passing tones are allowable dissonances (but never on the first beat
w
8
of the measure). &4
P4↓ contour in third
(b) The cambiata (see the melodic P4↓ measure of the exam-
4
&4 w
ple below) is allowed but only with the second note of the measure
as the only dissonant interval. w w
c.f.
6. Direct 5ths and direct 8ves are not allowed and occur when an 8ve or
5th on a downbeat is approached through similar motion.
4 œœœœ œœœœ œœœœ œœ œ œ œ œ œ œ œ œ œ #œ w

8 7 6 5 3 2 1 5 8 7 56 8 5 13 5 6 78 5 4 3 4 34 5 6 8
&4 œ œ œ œ
pt pt pt pt
pt pt
4
camb.
&4 w w w w w w w w
c.f.
Go to Third Species Practice Exercises.
30.5 Fourth Species Counterpoint

Fourth species deals with writing suspensions (and syncopations). Because this
is only a brief introduction to species counterpoint, you will only encounter the
cantus firmus in the lower voice in fourth species in this text. See the fourth
species rules below.
1. Start with a half rest, then write a half note an 8ve above the cantus
firmus. The half note on the 3rd beat of every measure but the penul-
timate one ties across the barline to a half note on the first beat of the
succeeding measure.
2. End on a whole note at the interval of an 8ve above the cantus firmus.
3. The penultimate measure should contain a 7–6 suspension.
4. The half note on the third beat of each measure is always a consonance.
5. If the half note after a tie is a dissonance (4th or 7th), it is a suspension

and must resolve down by step.
(a) Allowable suspensions in the upper part are 4–3 and 7–6; 9–8 and
2–1 are not allowed.
6. If the half note after the tie is a consonance (1, 3, 5, 6, 8), it is a synco-
pation and can be left in any manner (by step or leap in any direction).
&w #œ œ œ œ w
w w w
c.f. c.f. 7ˆ 5ˆ 6ˆ 7ˆ
30.6. FIFTH SPECIES COUNTERPOINT 399
& 44 Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ #˙ w
8 4 3 5 8 6 5 6 5 7 6 8
sus. sync. sync. sync. sus.
Int:43 4 5 6 w8
& 4 w w8 pt7 5 6w 8 w
w w ww
3 5 4 3 1
œ œ #œ w œ œ œ #œ w c.f.
& œ c.f.
pt that all suspensions and syncopations are labeled and all dissonant
Notice
#œ œ œ œ w
ˆ 5ˆ 6ˆ 7ˆ
4
intervals are circled. 2ˆ 1ˆ 6ˆ 7ˆ pt
&Gowto Fourth Species w ∑ Exercises.w
w Practice
& c.f. ∑ c.f.
∑
7ˆ 5ˆ 6ˆ 7ˆ
& ∑ ∑ ∑
30.64 Fifth
Ó ˙ Species ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙Counterpoint ˙ #˙ w
8 4 3 5 8 6 5 6 5 7 6 8
&4
sus. sync. sync. sync. sus.
4 w w
&4 w w w
Fifth species (also know as “florid counterpoint”) is a free mixture of first
w
∑ ∑ ∑ w
through fourth species. One can observe all species in the opening of Orlande
&
de Lassus’
c.f.Expectatio Justorum.
& ∑ ∑ ∑
˙ ˙ ˙ ˙ ˙ ˙ ˙. œ œ œ ˙ w
& b 42 „
w
3 5 3 34 56 5 3 8 5 tt 3 3 32 5432
∑
sync. p
4 ˙ ˙ ˙ ˙ ˙. œ œ œ ˙ w
p
& b 2 w. Ó
p p p
˙ œ
sync. ˙ œ œ œ œ œœœ
Species type: 2nd 4th 4th 2nd 1st 2nd 4th 1st 2nd 3rd
& ∑ ∑
YT: wjqd3Mv_wgs
Figure 30.6.1: Orlande de Lassus, Expectatio Justorum
& ∑ ∑
30.7 Invention Expositions
J.S. Bach’s Two–Part Inventions were not only intended as instructional key-
board pieces but also as examples of how to compose. In this section we will
wed our species counterpoint knowledge with our knowledge of harmony in
order to write a four-measure invention exposition using Bach’s C major and
E minor inventions as models. Note the I–I–V–V–I harmonic progression.
187
m
œœœœœœœœ œ œ œ œ
5ˆ
Theme P5 higher
œ
Theme
&c ≈ œ œ œ œ œ œ œ œ œ
œ œ m
Theme 8ve lower than m. 3
œœœœœ œ
Theme 8ve lower 5ˆ
?c Ó ≈œœœœœœœ œ Œ ≈œœ
œ 187
œ mœ œ œ
C: I Iˆ V Theme P5 higher V I
Theme 5
& c ≈ 5œ
œ œ œ œ œ œ
œœ œ œ œ œ
œ
# c œ‰ œœœ œ œ œ Mœ . œMœYT: m œ #mœ œ œ œ œ œ œ œ mœ .
# œ œ Theme 8ve lower œthanœ m.œ 3
Theme P5 higher
.
Theme ˆ
& œ œ œ œ œ Theme 8ve E8EvUmq0Zao

œ œ œ772 œ m.œ 3
œthan
lower 5ˆ
?c Ó œ œ œ
≈ œ œ 8ve lower
œ œ5ˆ œ Œ
Figure 30.7.1: Bach, Invention No. 1 in C Major, BWV
œ
≈œ œ œ
œœœœœ œ œ #œ #œ œ œ œ
Theme 8ve lower
Theme
?# c œ Œ ‰ œ œ Œ ‰
C: I œ I V V I
Mœ . œMœ . œ #mœ œ œ œ # œ œ œ œ œ œ mœ .
e: i i V V i
## c ‰ œ œœ œ
Theme 5ˆ Theme P5 higher
& œ œœœœ
&
M œ œ #œ #œ œ œ œ
œœœœœ œ
Theme 8ve lower 5ˆ
?# c œ Œ ‰ œ œ Œ ‰
œ
e: i i V V i
#
& b œ
end on a 10th
œ œœœœœœ œ
Theme Theme P5 higher
2
&bb 4 œ œœœœœœ œ YT: QHDx0uYaKkY
?#
œ œœœœœœ œ
? bb 42 œ œœœœœœ œ
Theme 8ve lower
b
Theme altered to end on tonic
E¯: I I V V I
Figure 30.7.2: Bach, Invention No. 7 in E Minor, BWV 778

b œ œ
& b b 42 œ œ œ œ œ œ œ œ œ œœœœœœ
leads naturally to 5̂
œ Exposition
œ œœ œœœœ œ
? b How
30.7.1 2 to Writeœ an
bb 4 œœœœ
œ œInvention
In the majority of examples, you will be given andoesinvention theme
not emphasize in the first
V chord
measure, which you will write an octave lower in the bass part in the second
measure, then a perfect fifth higher than the first measure in the third measure,
the fourth measure will be the third measure transposed down one octave, and,
finally, you will end on the interval of a 10th—tonic in the bass part and 3̂ in
the upper part. Please see the example below.
?# & c ≈ œ œœœ œœœ œ œœ œ œ œ œ œ œ œ œœ œœ # œœ # œœ œ œœ œœ
5
c œ Œœ œ œ ‰œ œ
œ œm œ Œ ‰
œœ Theme 8ve lower than m. 3
œ œ œ œ œ œi
Theme 8ve lower ˆ
œ
5 401
œ œ
30.7. INVENTION EXPOSITIONS
?c Óe: i i
≈œœœœœœœ
V
Œ
V
≈
œ
œI
end on a 10th
b 2 C: I œ œœœœœœ œ
& b b 4 œ œœœœœœ œ
I V V
# M Mœ . œ m œ œ œTheme
œ œ 8vemœ .lower than
œ m.œœ3
Theme P5 higher
œ
5ˆ Theme
c ‰ œ œ . œ # œ œ # œ œ œ œ œ
? b &2 œœœœœ
œ œœœœœœ œ œ œœœ
Theme 8ve lower
bb 4
œ œ #œ #œ œ œ œ
œœœœœ œ
Theme 8ve lower 5ˆ Theme altered to end on tonic
?
E¯: # I œ
c Œ I
‰ œ V
œ Œ ‰
V I
œ
& bbb e: i i
Figure 30.7.3
V V i
œ
end on a 10th
? b b Altering
b œœœœœœ
œ
30.7.2
b& b b 42 œœœ œ
Themes
œ œœœ œ Harmonies
to Fit the
œ œ
œ œI œtoœ Vœ œneeds
? may œ œ naturally from

œ œ œ œleads
42
Theme 8ve lower
b b b altered œ œ that
1. You find that a theme its
contour when progressing from V to I in measures 4 to 5 in order
to emphasize the V chord and the dominant–to–tonic harmonic
Theme altered motion.
to end on tonic
Modify E¯: the Icontour to emphasize
I the VV chord at the Vend of the measure, I
altering as few notes as possible.
œ
b
& b b 42 œ œ œ œ œ œ œ œ œ œœœœœœ œ
leads naturally to 5̂
? b b 42 œ œœœœœœ œ œ œœœœœœ œ
b
does not emphasize V chord
œ
188 b
œ œ
? b b 42 œ œœœœœœ œ œ œœœœœ
b
œ
b
note changed to emphasize V chord
188
b
2.
&bb
Additionally, you may be given themes that land on 3̂ on the downbeat
œ œ œ œand
œ œ œCœmajor
in theœ Bach
? b 2 œ œ œ œ œ œ
b b 4invention expositions.œ You will need to alter the theme at the
of the second measure, not the 5̂ that occurred
E minor
? b measure 2 to emphasize the I chord asnote
note bofb the third measure the 5̂ scale degree.
end of well as make the first bass
changed to emphasize V chord
b
& b 43 œ œœœœœœœœ œ
3ˆ
œ œœœœœ œ œ œ œ
œ œ œœœœœœœ œ
does not
? b b 43
œ œœœœœœœœ œ
emphasize V
3ˆ
does not does not Theme altered

emphasize I emphasize V to end on tonic
B¯: I I V V I
b
& b 43 œ œœœœœœœœ œ
œ
does not
emphasize I emphasize V to end on tonic
B¯: I I V V I
b
& b 43 œ
œ œœœœœœœ œ
? b 3 œ œ œ œ œœœœœœœ œ
b 4 œ œœœœœœœ
notes changed to
emphasize harmonies
B¯: I I V V I
& b b when a theme in minor containing the 2̂ and 3̂ scale degrees in the
3. Finally,
first two measures is transposed up a fifth in the succeeding two measures,
scale degrees 2̂ and 23̂ will be transposed to ↑6̂ and ↑7̂ . The reasoning
is ?
thatb ↑7̂ is the 3rd of the V chord, and ↑6̂ is a step below, typically a
passingb tone. Another way to think of this is to use the melodic minor
scale in the 3rd and 4th measures. 189
↑7ˆ
& b 42 œ œ œ œ # œ œ œ œ œ #œ nœ œ #œ œ œ œ
3ˆ 2ˆ 3ˆ ↑7ˆ ↑6ˆ
œ œ œ œ #œ œ œ œ œ #œ nœ œ #œ œ œ œ
ˆ
↑7 ↑6ˆ ↑7ˆ
? b 42 3ˆ 2ˆ 3ˆ
189
d: i i V V i
↑7ˆ
b 2 #œ nœ œ œ
3ˆ 2ˆ 3ˆ ↑7ˆ ↑6ˆ
& 4Addingœ œ œ the œTheme
#œ œ
30.7.3 œœ
& œb œ œ # œCounterpoint to Statements
3ˆ œ œ # œ n œ œ œ œ œ
ˆ
# œ
↑7 ↑6ˆ ↑7ˆ inven-
?exposition,
2 œ œ
After copying and transposing the theme throughout this four–measure
œ
œ œ #œ œ
3ˆ 2ˆ
of theb theme
4? b in the second,
tion you will need to add counterpoint to accompany the statements
third, and fourth measures. Unlike species coun-
terpoint, your counterpoint in these invention expositions must emphasize the
d: i i V V i
harmony in each measure.
not emphasizing A-C˜-E

œ œ œ.
2& b œ œ
not emphasizing D-F-A
& b 4 œ œ œ œ #œ œ œ œ œ œ œ. œ œ #œ nœ œ #œ œ œ œ
?b
œ œ #œ nœ œ #œ œ œ œ
Intervals: 5 8 5 6 6 7 5 3 8 3 5 8 tt66 7 6 3 3 66 7 6 3 3
? b 42 ∑ œ œ œ œ #œ œ œ œ Œ
III6?
d: ib
VI6?
& i V V i
strong beats emphasize the harmony

?b œ.
b 2 œ œ #œ nœ œ #œ œ œ œ #œ. œ œ
& 4 œ œ œ œ #œ œ œ œ
? b 42 œ œ #œ nœ œ #œ œ œ œ
œ œ œ œ #œ œ œ œ Œ
Intervals: 5 3 4 3 4 3 6 8 3 5 3 4 3 4 3 3 3
∑
&b
?b
d: i i V V i
&b
?b
2 œ œ œ #œ nœ œ œ œ œ #œ. œ œ
& b 4 œ œ œ œ #œ œ œ œ #œ
? b 42 œ œ œ œ #œ œ œ œ œ Œ œ # œ n œ œ # œ œ œ œ403
Intervals: 5 3 4 3 4 3 6 8 3 5 3 4 3 4 3 3 3
∑
30.8. FUGUE ANALYSIS
You may find the need to create “microharmonies” within a measure with
some themes,
d: i such as a I–IV–I
i or I– vii◦ 6V–I progression even
V though the over-
i
riding harmony of the bar is the I chord. Examples are found in the first two
measures of the C major invention.
m
œœœœœœœœ œ œ œ œ œ
&c ≈œœœœœœœ œ œ œ œ
m
œœœœœ œ
?c Ó ≈œœœœœœœ œ œ Œ ≈œœ
C: I I (viio6) I V V (IV6) V I
“microharmonies”
YT: E8EvUmq0Zao
Figure 30.7.4: Microharmonies in the C Major Invention by J.S. Bach
Given these pieces of information, you are prepared to begin writing tonal
counterpoint in two parts.
Go to the Invention Exposition Practice Exercises.
30.8 Fugue Analysis

We will now turn to analysis of fugue. Let us set out definitions first.
• A fugue is a contrapuntal composition whose form features sections
called expositions and episodes
• A fugue exposition is a section that contains at least one full statement
of the subject of the fugue.
• The fugue subject is the primary melodic idea and is stated by each
voice in turn in the first exposition.
• The response, called “answer” in some texts, is the subject intervallically
altered to start in the original key before modulating to the dominant.
Notice that the third note of the subject in the example below descends
a perfect fourth to the fourth note. In the response in measure 3, the
third note descends a perfect fifth to the fourth note.
• An episode is a section that does not contain a full statement of the
fugue subject, but instead develops the subject or other prominent ideas
through fragmentation and sequencing.
Here is the first exposition of Fugue 2 in C minor in Book I of the J.S. Bach’s
Well–Tempered Clavier. In the first exposition of a fugue, all of the voices state 193
the subject at least once. It is important to note that a response is considered 193
193
equivalent EXPOSITION
to a subject because the intervallic alterationsRESPONSE
are so minute.
œ ∑ œ œ œ ‰ œ n RESPONSEœ # œ œ œ œ œœ œ œœ nœ
SUBJECT
b EXPOSITION
EXPOSITION
œ n œ œ œ∑ œ œ œ œ œ œ œ n œ œ œ
RESPONSE
& b b c SUBJECT œ œ ‰‰œ œœ n # œœ œœ œ œ œ œ œœ œ œ nn œœ

bb b b c ‰ œ n œ œ ∑ œ œ œ œ œ œ nœ œ œœ ∑∑ œ œ œ œ œ œ œ œ œœ
œœ œ œ œ œœ œ œ nn œœ nn # œœœ œœ œœ œœ œ œœ œ œ œ
SUBJECT
& b b c ‰ œ n œ œ œœ∑ œ œ œ œ œ œœ œ n œ œ
&
œ COUNTERSUBJECT œ œ œ1
‰
? b c ∑ ∑ ∑ 1
bb
? b
COUNTERSUBJECT
? bbb c c ∑ ∑∑ ∑∑
COUNTERSUBJECT 1
bb ∑
BRIDGE (can only occur within first exposition)
SUBJECT HEAD
BRIDGE SUBJECT
(can only HEADfirst SUBJECT
occur within HEAD EXT.
exposition)
œ œ œ œœ œ œ œ œ HEAD
b œœ n œ # œ œ œ œ œ HEAD œœ œœ
BRIDGE (can only occur within first exposition)
b œ # œœ œ œ œ œ œœ œSUBJECT œ œ œHEAD œœ œ œœEXT.
4
&bb œ œ œ n œ œ n œ œ œ n œ b
SUBJECT HEAD SUBJECT SUBJECT EXT.
œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
SUBJECT HEAD
œ œ œ œ
SUBJECT HEAD
œ œ
b bb b bb œœœ n œœ ## œœ œœœ œœ # œœ œ œœ œ œœ œœ œœ œœ œœ œœ≈ œ œ œœ œ œœ œœ œœ n œ œ œœ n œ œœ œ œœ n œœ œ b œœ œ œœœ œœ œœ œœ œ
œ œ œ
4
&
4
&bb nœ #œ œ œ œ œ œ œ
œœ œœ œ œMOTIVE
≈≈ BRIDGE œ œ n œ
œœ œ œ œ n œ œ œ œn
œœœ œœœœb œ œ œ
MOTIVE BRIDGE MOT.œ EXT.
? bb
BRIDGE
b ∑ ∑ MOTIVE BRIDGE MOTIVE BRIDGE ∑ MOT. EXT.

?
? bb bb b
BRIDGE
∑∑ ∑∑ ∑∑
BRIDGE MOTIVE BRIDGE MOTIVE BRIDGE MOT. EXT.
b
COUNTERSUBJECT 1
b œœ œ œ œ œ œœ œ œ œ œ #œ
œ œ œ œ œœ œ œ œœ œœ œ n œœ œœ œ œœ œ œœ
7 COUNTERSUBJECT 1
&bb
COUNTERSUBJECT 1
bb b b œœ œ œ œŒ œ ‰ œœ œ œœ œ‰ œ œ œœ n œ œ œ œœ œœ # œ
œœ #œ
7
& œ œ œ œŒ œ œœ œœ œ‰œ œ œ œ œœ œœ œ n œ œ œ œœ œ
7
&bb ‰‰ œ œ œ œ œ œ œœ œ
Œ ‰ COUNTERSUBJECT
œ œ œ œ œ n œ œ2 œ œ œ œ œ œ
œ n œ œ œ œ œCOUNTERSUBJECT œ
œ nœ nœ
2
? bb ‰œ œ
?
b œ nn œœ œ œ œ œœ œœ œœ œœ œ œœ nn œœ œœ œœ œ œ œ œ œ œ
œœ œ nn œœ nn œœ
COUNTERSUBJECT 2
? bb bb b ‰‰ œ œ œ œœœ œœ
b SUBJECT
SUBJECT
b
SUBJECT
& bb b
bb
& b bb
& YT: itvGdURMfbM
? b Book I (BWV 847)

Figure 30.8.1: First Exposition of Fugue 2 in C minor from WellTempered
? bb
? b bb b
Clavier,
bb
b b bridge, if it occurs, is a brief modulatory passage that only hap-

&• bThe
bb b within the first exposition, usually to connect the response to the
& bpens
& bsubsequent
b subject statement.
?• bAb countersubject is counterpoint that consistently accompanies each
? bb bb
? bboccurrence
b
of the subject. “Countersubject 1” is in the alto voice in
measure 3 and in the soprano voice in measure 7. The alternative to using
a countersubject would be for a composer to write different accompanying
counterpoint (labeled as “CTRPT” in the examples) each time a subject
is stated.
Within the bridge (bar 5 in the example above), we see motivic fragmentation
of the subject (“subject head”). Subjects, responses, and countersubjects can
be fragmented into head motives and tail motives in episodes in fugues. In
this fugue, we will see the subject, countersubject 1, and countersubject 2
b œ œ œœ œœ œ œ œ œ nœ œ œ œ œ #œ
& b b œ œ œœœœœ œ œœ œœ
7
œ œ œ œœœ œ
Œ ‰ ‰
30.8. FUGUE ANALYSIS 405
œ nœ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ nœ nœ
COUNTERSUBJECT 2
? b
bb ‰
fragmented.
Below SUBJECT
is the first episode, which contains motivic fragmentation of the
subject and countersubject 1.
EPISODE
SUBJECT HEAD SUBJECT HEAD
j j
CTRPT
œ #œ œ ‰ œ œ n œ œ œ œœ œ ‰œ œj
CTRPT
b n œœ œœ nœ œ
& b b œœ J
œ œ œ œ œ nœ œ œ œ
‰ ‰ J
œ
CTRPT SUBJECT HEAD CTRPT
? bb œ n œ n œ œ œ œ œ œ œ œ œ œ b œ œœ œœœ
SUBJECT HEAD
œ
b bœ œ œ œœœœœœœœœ
œ œ
CTRSUB. 1 HEAD CTRSUB. 1 HEAD
CTRSUB. 1 HEAD CTRSUB. 1 HEAD
YT: itvGdURMfbM
Figure 30.8.2: First Episode of Fugue 2 in C minor from WellTempered

Clavier, Book I (BWV 847)
Below are the second exposition, the second episode, the third exposition,
and the third episode.
EXPOSITION EPISODE
SUBJECT
b œ œœœ œ œ œœœ œ œ œœœ œ œœ œ œ nœ

œœ œœœœœœœœœœœœœ
C. S. 1 HEAD INV C. S. 1 HEAD INV
11
194
&bb œ ‰ œJ
œ œ œ œ œ
C. S. 2 HEAD C. S. 2 HEAD
CTRPT COUNTERSUBJECT 2
œ œ œ œ bœ œ œ œ ‰œ œ œœ œœ ‰ œ œ œ œœ œœ œœ œœ œœ œœ œ œ
? bb œœœ œ œ œ œ œœ œ œ
b œ
COUNTERSUBJECT 1 C. S. 2 HEAD C. S. 2 HEAD
EXPOSITION
C. S. 1 HEAD INV COUNTERSUBJECT 1
œ nœ œ nœ nœ œ nœ
nœ œ bœ œ œ œ œ nœ
C. S. 1 HEAD INV
b œ œ
& b b œœœœœœ œ # œ œ œ œ œœ œ œ œœ n œœ œœ n œœ # œ œœ œœ œœ œ œœ n œ œœ œ
14
bœ
? b b œœ œ œœ œœ œœ œœ œœ n œœ œœ RESPONSE ‰ œ œ nœ ‰ œ
J ‰ Œ
b œ œ œ œœœ œ
C. S. 2 HEAD C. S. 2 HEAD COUNTERSUBJECT 2
EPISODE
j j
CTRPT
bb b œ œ œj ‰ ‰ n œn œœ œ œœ ‰ n ‰œ œ# œœ n œ œœ ‰ œ ‰œ j ‰ ‰ j ‰ ‰ n œ œj ‰
17
& œ ‰ ≈œnœ #œœ nœ nœ œ œ œ œ

# œ b œ n œœ œ n œœ œœ œœ œ œœ œ
œ œ œ nœ œ nœ
J
bœ œ œ
? b b œœ œ œ œœ œ œœ œœ n œœ œœ ‰ Œ
RESPONSE
‰ œ œ nœ ‰ œ œ œ œ œœœ œ
b J
C. S. 2 HEAD COUNTERSUBJECT 2
C. S. 2 HEAD
EPISODE
j j
CTRPT
j ‰ ‰ n œœ œ œœ ‰ n ‰œ œ# œœ n œ œœ ‰ œ ‰œ j ‰ C. ‰SUB.
EPISODE ‰ ‰
j j ‰
bbb
EXPOSITION
œ œ œ
17
& œ ‰ ≈œnœ #œœ

SUBJECT
n œ n œ n œ œ # œ œ b œœ n œœ œœ n œœ œœ1œœHEAD C.n œœS.œœ œœ1 HEAD
œœ œ œ œ œ œ œ œ œn nœœ
bbb œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œn œ œ œ œ œ
11
194
& Jœ œ
‰ J MOTIVE BRIDGE MOTIVE
BRIDGE
œ n œ œ CTRPT œ COUNTERSUBJECT
œ œ œ œ2 œ SUB HEAD SUB HEAD SUB HEAD
? nœ œ #œ œ œœ œ
bbb œœœœ œ
œ œ œ
œ œ œ ‰œ œ œœ œœ ‰ œ œ œ ≈ œ n œœn œ œœ œ œœœ œn œ œœœœ œœ n œ œ œ
? œ œ œ œ œ œœ œœ
bbb œb œ œ œ œ œ œ œ
œ SUB HEAD œ SUB HEAD SUB HEAD
BRIDGE MOTIVE BRIDGE MOTIVE
COUNTERSUBJECT 1 C. S. 2 HEAD C. S. 2 HEAD
b ‰
& b b œ œ œœ n œœ C. S. 1 HEAD COUNTERSUBJECT 1
EXPOSITION
œ œn œn œ œ n œn œ œn œ œ œ œ œ
C. S. 1 HEAD
bb œ œn œ œb œ œ œ œ YT: itvGdURMfbM œ œ œ n œœ œ n œœ œœ œœ
14
& b
? bb œ œ œ œ œ œ# œ œ œœ œ œœ n œ œœ œ
‰ œ œ œ œ #œ
b J
bœ
? b b œœ œ œœ œœ œœ œœ œœ n œœ œœ RESPONSE ‰ œ œ nœ ‰ œ œ œ œ œ œ œ œ
b J ‰ Œ
C. S. 2 HEAD COUNTERSUBJECT 2
C. S. 2 HEAD
EPISODE J.S. Bach, Fugue 2 in CCTRPT

minor from WellTempered Clavier,
j ‰ ‰ # œ œj ‰ ‰
Figure 30.8.3:
Book I (BWVj847)
‰ ‰
b nœ œ nœ j ‰ ‰ j ‰ ‰ j ‰
& b b œ œ‰ œ œ≈ œ n œ # œ œ n œ œ œ œ n œ n œ œ n œ œ œ œ # œ œ œ œ b œœ n œœ œœ
17
n œœ œ œœ n œœ œœ œœ
œ
J œ œ œ nœ œ nœ
œœœ œ œ
œnœ œ œ œ #œ œ
SUB HEAD SUB HEAD SUB HEAD
? bb œ œ nœ ≈œnœnœ œœœ œnœœ œœœœ œnœœœ

b œ
In the four systems below, we see the fourth exposition, fourth episode, and
final exposition, which SUB
SUB HEAD includes
HEAD two subject
SUB HEADstatements separated by cadential
material.
EXPOSITION EPISODE
b ‰ ‰ j
SUBJECT SUBJECT HEAD
& b b œ œ œœ n œœ œ œ œ œœ œ œœ œœ œœ œœ n œ œœ œœ œ œ œœ œ œ œ œœ œ n œ œ‰ n œœ œœ œ œ œ n œœ
20
nœ œ J
COUNTERSUBJECT 1 CTRPT SUB HEAD
œ bœ œ œ œ œœ
? bb œ ‰
b J ‰ nœJ ‰ œ œ œ œœœ œœœœœœ œœœœœ
œ bœ œ œ œœœ œ
CTRPT COUNTERSUBJECT 2 C. S. 1 HEAD C. S. 1 HEAD 195
SUBJECT HEAD CTRPT SUB HEAD SUB HEAD
b ‰ j œ œ
& b b œœ œ n œ œ‰ œœ œœ œ œ œ œ œ˙ œ œ œ n œ œ œ ˙œ œ œ œ œ œ œ œ œ‰ œ œ‰ œ œœ ‰ œ ‰ œœ
23
J œ nœ œJ J
J J
CTRPT SUBJECT HEAD CTRPT CTRPT
? bb œ œ œ œ œ œœœœœ œœœœœ Œ ≈ œ nœ nœ œ œ œ œ
b œœœ œ œ œ œœœœœ œ nœ nœ œ
œœ œ
C. S. 1 HEAD C. S. 1 HEAD C. S. 1 HEAD C. S. 1 HEAD C. S. 1 HEAD INV
EXPOSITION
SUB HEAD COUNTERSUBJECT 1
b œœœ œœ œ œ ‰ j
& b b œœ ‰ ‰ œœ œœ ‰ œ œ‰ n œ n œœ œ œœ œ œ œœ œ œœ œœ œ œ œœ œ œœ œ œ œœ ‰‰ n œœ
26
J J J J nœ œ œ J
? b œC.œ S.œ 1 HEAD œ œC.œS.œ 1œHEAD œ œS.œ1 œHEAD œ œC.œS.œ 1œ HEAD
œ œ œ œ C. Œ ≈ nœ nœ œ œ œ œ
bb œ œœœœ œ œœ œ nœ nœ œ œ
C. S. 1 HEAD INV
C. S. 1 HEAD C. S. 1 HEAD C. S. 1 HEAD C. S. 1 HEAD C. S. 1 HEAD INV

30.9. PRACTICE EXERCISES
EXPOSITION 407
SUB HEAD COUNTERSUBJECT 1
b œœœ œ œ œ n œ n œ œ 1œœ œ œ ‰ œ
œEXPOSITION ‰ n œj
26
& b b œœ ‰SUB‰HEAD œ œœ COUNTERSUBJECT

œ ‰ ‰ œJ œ œ œ œ œ œ œœ œ œ œœ œ œœ œœ œœ œœ ‰ œ
J J nœ
bb J œœœ œœœœ œ œ œ œ ‰ ‰ n Jœj
26
b n œ
œœ ‰ ‰ œœ œœ ‰ ‰ n œœ œ œ œCOUNTERSUBJECT œ œ œ œœ œœ 2œ œ œœ œ œœ
& CTRPT
J J J nœ œœ œœ œœ ‰ œ
J œ
? bb œ œ œ œ œ œ œ n œ œ œ œ J
œ nœ œ œ œ œ œ ‰ œ
b CTRPT œ œ 2 œœœ
œ œ COUNTERSUBJECT œœœ J
œ
? b b œ œ C.œS.œ1 œHEAD
œ œ n œ SUBJECT ‰ œ
b œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œœœ J
C. S. 1 HEAD SUBJECT
CADENTIAL MATERIAL SUBJECT
b nœ œ œœ œ n œ œ b n œœœœ œœ œœ œœ œœ œœ
29
& b bCADENTIAL œœ œn œœ œ œ œSUBJECT

œ œ œ œ MATERIAL œ œ n œœ
‰ J ‰ J œ œœ
n œœœ ‰ œœ œ œ n˙
‰ ˙˙
bb b n œ œ J J
œœ n œ œ b n œœœœ œœ œœ œœ œœ œœ
29
& œ œ œ œ œœ œn œœ œ œCTRPTœ œ‰ n œœ
œ œ
‰ J œ œœ
n œœœ ‰ œœ œ œ n˙
‰ ˙˙
J J J
? bb œ œ œ ˙ w w
b œ ˙CTRPT w w
? bb œ œ œ
b œ ˙˙ w
w
w
w
b
&bb
b
&bb
? b
YT: itvGdURMfbM
bb
? b
bb
Figure 30.8.4: J.S. Bach, Fugue 2 in C minor from WellTempered Clavier,
Book I (BWV 847)
In homework and on the test, you will be asked to analyze a fugue with
regard to expositions (including the bridge, if it occurs), episodes, subjects,
responses, countersubjects, and motivic fragmentation.
Species Counterpoint: Day One

& b 42 „ w ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ œ œ ˙ w
3 5 3 34 56 5 3 8 5 tt 3 3 32 5432
∑
sync. p
408
4
CHAPTER 30. INTRODUCTION TO COUNTERPOINT
˙ ˙ ˙ ˙ ˙. œ œ œ ˙
p
& b 2 w. Ó
p p p
˙ w œ œœ
1. For each exercise below, write first ˙ œ œ œ œ œ coun-
sync. species (note–against–note)
terpoint. WriteSpecies
the intervallic
type: 2nd distance
4th 4th 2nd from the cantus
1st 2nd firmus
4th 1st 2nd (“c.f.”)
3rd
to the counterpoint in the blanks above the staff. Remember to begin
and end with an octave or unison, to proceed to the last unison by
step in both voices, and use only consonances (1, 3, 5, 6, 8, 10).
Interval: ____ ____ ____ ____ ____ ____ ____
4
&4
& 44 w w w w w
w w
c.f.
w
Interval: ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
w w w w w w w w
& 44 w w w
Interval: ____
c.f. ____ ____ ____ ____ ____ ____ ____ ____ ____
c.f.
w w w w w w w w
&4
4
&4
&4
Int: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
& 44
Int: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
&4
& 44 w w w w w ww w w w w w w w w
& 4 c.f.
w w w w w w w w w w w w w
c.f.
w ww w w w w w w w w w w w w
Int: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
4
Int: ___
c.f. ___ ___ ___ ___ ___ ___ ___
___ ___ ___ ___ ___ ___
&4 w w w w w w w w w w w w w
c.f.
&4
& 44
&4
& 44
Int: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
Int: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
&4
& 44 w w
w w w w w
w w w w w w
& 4 c.f.
w w w w w w w w w
c.f.
Int: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
& 44
Int: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
&4
? 44 w w w w w w w
?4 w w w w w w w w w w
w
c.f.
w w
c.f.
?
? 44
4
30.9. PRACTICE
Int:
Int: ___ EXERCISES
___ ___ ___
___ ___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___ 409
___ ___
___
4 exercises below, write second species counterpoint—two half

Int: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
& the
4
& 4in each measure except the last. Each downbeat must be a con-
2. For
notes
& 44 distance
sonance. The only dissonance allowed is the passing tone. Write the
from the cantuswfirmus (“c.f.”) to the counterpoint
in&the4 w above ww wwCircle
w allwwdissonant
w ww numbers
intervallic
w w w
w w staff. w ww w (2,w 4, wand
w w w w
blanks the
w
c.f.
c.f.
7) and
c.f. label passing tones with “pt.”
Int: ___ ___
___ ___
___ ___
___ ___ ___
___ ___
___ ___
___ ___
___ ___
___ ___ ___
___ ___
w
Int: ___ ___ ___ ___
4 w ww w ww w
Int: ___
c.f. ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
w ww
c.f.
& 4 w w
&4 w
c.f.
& 44
&4
Int:
Int: __ __
__ __ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__
& 44
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
&4
?4 ww w w w w
? 44 ww w w
w w ww w w ww w
w
c.f.
c.f.
c.f.
Int:
Int: __ __
__ __ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__
4
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
w
c.f.
w
c.f.
& 4
& 4 ww w ww ww w ww w ww
c.f.
ww w w w w
w
?4
? 44
Species Counterpoint: Day Two

Int: __ __8 __
5 __
3 __
3 __
5 __
8 __
3 __
3 __
2 3 __
__ 2 __
3 __
5 __
6 __
7 __
3 __
5 __
6 __
3 8
__
& 44 wCHAPTER 30. wINTRODUCTION w TOw COUNTERPOINT

c.f.
410
w w w w w w w
? each ˙ ˙ below,
44 Ó ˙exercise ˙ ˙ ˙ write˙ pt˙third˙ pt˙species
˙ ˙ counterpoint
˙ ˙ ˙ ˙ ˙ (quarter
˙ w
pt
3. For
˙
notes). Circle all dissonant interval numbers and label passing tones
and cambiata figures.
Int: __ __ __ __
& 44
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
? 44 w w w w w w w w
c.f.
4
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
& 44 ww ww
Int: __ __ __ __
& ww
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
Int: __ __ __ __
ww ww ww ww
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
ww
__
& 4 c.f. w w w w w w
w w
?
? 444 c.f.
c.f.
?4
Int: __ __ __ __
4
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
Int: __ __ __ __
& 44
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
& Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
&4 ww
ww ww ww
? 444 www
? ww ww
w w w w w
ww
w
? 4 c.f. w
c.f.
c.f.
Int: __ __ __ __
4
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
Int: __ __ __ __
& 44
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
&
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
&4
?
? 444 ww ww ww ww ww ww ww
? 4 c.f.
w ww w w w w w
c.f.
w w
c.f.
Int: __ __ __ __
4
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
&
& 44
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
&4 ww ww ww
? 444 www
? ww ww ww w w w
ww
w
? 4 c.f. w w w
c.f.
c.f.
Int: __ __ __ __
4
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
Int: __ __ __ __
ww
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
&
& 44 w
Int: __ __ __ __
ww ww ww ww ww ww
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
w
& 4 c.f. w w w w w w
w w
? 4
c.f.
? 44 c.f.
?4
44
Int: __
Int: __
__ __ __
__
__ __
__ __
__ __
__
__ __
__
__
__
__ __ __
__
__ __
__ __
__ __
__ __
__ __
__ __
__
__ __
__ __
__
__ __
__ __ __
__
__ __
__ __
__
__ __
__ __
__
__ __
__ __ __
__
__ __
__ __
__
__ __
__ __
__
__ __
__ __ __
__
__ __
__
__ __
__ __
__
__ __
__ __ __ __ __
__
__ __
__
__ __
__ __
__
__ __
__ __ __ __
__
__ __
__
__
__
__
__
&
& 44 EXERCISES
30.9. PRACTICE 411
? 44 wexerciseww below,wwwrite fourth

?each
ww species
ww counterpoint
ww ww (suspensions
ww
4. For
4 w
and syncopations).
c.f.c.f. Circle all dissonant interval numbers and label
c.f.
suspensions with “sus” and syncopations with “sync.”
44
Intervals: __ __
__ __ __
__ __ __
__ __ __ __ __
__ __ __
__ __ __
ÓÓ ˙˙ ˙˙
Intervals: __ __ __ __ __ __ __ __ __
&
& 44
? ww
? 444 ww ww ww ww ww ww ww
4 c.f.
c.f.
c.f.
Intervals: __ __
__ __ __
__ __ __
__ __ __ __ __
__ __ __
__ __ __
4
Intervals: __ __ __ __ __ __ __ __ __
& 444
&
? w ww ww ww ww
? 444 w ww ww ww
c.f.
c.f.
Intervals: __ __
__ __ __
__ __ __
__ __ __
__ __ __
__ __ __
__ __ __
44
Intervals: __ __ __ __ __ __ __ __
&
& 44
ww ww ww ww ww
? 444 ww
? ww ww
4 c.f.
c.f.
c.f.
Intervals: __ __
__ __ __
__ __ __
__ __ __ __ __
__ __ __
__ __ __
4
Intervals: __ __ __ __ __ __ __ __ __
& 444
&
?
? 444 ww ww ww ww ww ww ww ww
4 c.f.
c.f.
Invention Expositions
Complete these invention expositions by following the I–I–V–V–I har-

3 pattern and transposing and modifying the theme accordingly.
5.
190
& 43
monic
œ œ œ œ . œ œ œ œ œœ œœ
&4
& 4433 œ œ œ. œ œ œ œ
190
& œœ œœ œœ œœœ ..œœ œœ œœ œœ œœ œœ

190
190
? 43
?3
? 4433
? 4
C: I I V V I
C: I I V V I
# œ œ
C: I II V V II
433 œ œ ## œœ œ œ œ œ œœ œœ
C: I V V
& ##
& 4 œœ œ œ
&
& 43 œ # œ œ œœœ œœ œ
?# 3
?# 43
?#
? 43
4 i
e: i V V i
e: i i V V i
# 2
e: i i V V i
& # ## 42 œ œ œ œ œ œ œ
& 4 œ œœœ œœ œ
&
&
? # # 42
?# 2
? # 4
? D: I I V V I
D: I I V V I
3 j
& b# # 4 ‰ œ œ œ œ # œ œ œ œ
&
&
&
? 3
? b# 4
? #
?
d: i i V V i
&b
?b
Fugue Analysis
6. For this fugue from the second Kyrie eleison of Bach’s Mass in B
Minor (BWV 232), specify formal sections (expositions and episodes),
motives (subject, response, countersubjects, and fragments thereof),
and key areas for expositions only in the table below. This fugue
contains more “counterpoint” (material not derived for subjects or
countersubjects) than the C minor fugue in the body of the text.
# # Alla
& # ### CC „„
Alla breve.
breve. „ „ „
Soprano
& „ „ „
##
Soprano
& # ## C „ „ „ „
& # C „ „ „ „
Alto
##
Alto
V # ### CC ∑ ∑ ∑ ˙ n˙ #˙. œ #œ œ œ œ
Tenor
Tenor V ∑ ∑ ∑ ˙ n˙ #˙. œ #œ œ œ œ
? # ### C ˙ nn˙˙ # ˙ . œ œœ œ œœ œœ ˙˙ œœ œœ ˙˙ ˙˙ Ky˙ - ri˙ - eœ # œ œ eœ -#lei˙ . - œ
Ky - ri - e e - lei -
Bass
Bass
? # # C ˙ #˙. œ œ ˙ ˙ œ #œ œ œ #˙. œ
#˙. œ #œ œ œ œ
Ky - ri - e e - lei - son, e - le - i - son, e - le - i-
?# # C ˙ n ˙˙ # ˙ . œ # œ œ œœ œ ˙œ œ˙ œ ˙ ˙ ˙˙ ˙˙ # ˙œœ.# œ ˙˙ œ # œww œ œ œ
Ky - ri - e e - lei - son, e - le - i - son, e - le - i-
? # ### C ˙ n ˙˙ # w˙w. œ # œ˙˙ œ œœ ##œœœ ˙œ œœ ˙œ œ ˙ ˙ ˙ ˙ #œ

?# # C œœœœ j
? # ### ˙. ˙ w œœ ##˙˙˙.. œ œœ
Piano
C ˙ ww ˙ ˙˙.. œœœœ œ ˙œ ˙˙˙ # œ œœœj œœ ˙˙ œœ œ

Piano
˙ ww ˙˙ œ w ˙ œœ
˙ ˙. œ ˙ #œ œ œ
RN in f ˜: __ __ __ __ __ __ __ __ __ __ __ __ __
RN in f ˜: __ __ __ __ __ __ __ __ __ __ __ __ __
##
& # ### „ „ „ „
5
„ „ „ „
5
&
S
##
S
& # ## „ „ „ „
& # „ „ „ „
A
## ˙
˙ œœ ##œœ ˙˙ ˙˙ w
A
V # ### ˙ nœ ˙ ˙
T
T V ˙ w n œ œœ ˙˙ ##˙˙ ˙
˙ ˙ ˙ œ
œ œœ ˙˙ ˙˙
w #˙ ˙.. e œ œ # œ- œ œ le˙˙ - ˙i - ˙. œ œ œ le˙ - i -
˙
- son, e - le - i - son, e - le - i - son, e - le - i -
?# # œ œ
? # ### ˙˙ w #˙ ˙ œ œ #œ œ œ ˙ ˙. œ œ œ œ œ ˙ ˙
- son, e - le - i - son, son, e -
B
B
son, Ky - ri - e e - le - i - son, e - lei - i -
˙ Ky - ri -
˙˙ œ˙œ˙ ##œœ ˙˙˙˙ ##˙˙˙˙ ˙ œ œ # œ n œœ œ ˙˙ # ˙˙ ˙ . ˙ œ˙ œ œœ œœ ˙˙ ˙˙
son,
˙ ..
e e - le - i - son, e - lei - i -
?# # œ œ # œ n œœ œ ˙˙ # ˙˙ ˙ . ˙ œœ ˙œ œ œœ œœ ˙˙ ˙˙ &
? # ###
5
˙
5
&
?# #
& # ### ˙ ˙ ˙. œ œ # œ„ œ œ œ ˙∑.. œ œ˙ œ n œ˙ # ˙ . œ œ # œw œ œ œ
Pno.
? ˙˙˙„ ˙˙˙ ˙˙˙.. œœœ œœ ##œœ œ œ # œ œ ˙ ˙˙ . œœ œœ œ œ œ œ œ ˙ ww
9
Pno.
œ # œ œœ œœ ###œœœ œœ ˙˙ ˙ . œ œKy œœ- œrieœ œœœ- œeœ œœ ˙˙ e - leiw -

S
## ˙ œ ˙
& ### ˙ n˙ #˙. œ #œ œ œ œ ˙ œ œ ˙ ˙ ˙ ˙ œ #œ œ œ #˙
& # ˙ n ˙e # ˙ . - œ leœ . œ - œ œi -
A
„ „ ∑
9
## ˙ ˙ # ˙ Ky˙ - rie - e œ œe - lei˙ # ˙-

S Ky - ri
- e e - lei - son, e - le - i - son,
V ### #˙ ˙ œ œ œ œ #˙. œ ˙ ˙ ˙
& # ˙ Kyœ œ -˙ ˙ri - ˙e ˙e - leœ œ -
T
˙ n ˙˙e # ˙ . - œ # leœ œ -œ œi - son, # œ œ # ˙ . i œ-

˙ ˙ ˙ œ œ
A
? ### Ky - ri - ˙ ˙ - ˙ son, e - le - i - son, œ ˙ w . - œ œi -

son,
## ˙ œ˙ œ œ˙ œ œ ˙ #˙
#˙ ˙ ˙
e e - lei e - le
V # ˙ ˙e - leœ œ- œi
B
T #son, œ - #son, ˙ . e œ- le˙ - i - son, Ky - ri - e e - lei˙
### - # œ œ œi œ
-
ri - ˙ n ˙e - le . œ
œ # # œ˙˙œ œ œ œœœ ˙˙˙ œœœ œœœ ˙œ˙ ˙# ˙˙ œ ˙œ œ ˙˙˙ # ˙œw .# œ ˙ ˙ ˙œ œ
9
& ˙ n ˙e .
? ### # ˙˙ ˙˙ # ˙œ œ n ˙œ
son, - le - i - son, Ky - e -
œ . ˙ œ œ œ
˙ œ œ
B
? # # # son, œ Ky˙ - œri - eœ œœ ˙˙e - leiww .. œœ

Pno.
œ œ œe œ- lew - i ˙ œœ ˙ ˙ - son,
### œ œ œ œ
œ # œ œ œœ œ
- son, e - le - i -
œ w. ˙ ˙ œ ˙ n˙
œ # # œ˙œ œ œœ œœœ ˙˙˙ ˙œœœ œœœ ˙˙œ # ˙˙ ˙ ˙˙ # ˙œ .# œ ˙ ˙ ˙
9
& ˙ n˙ # ˙œ n œ
# ˙˙ ˙˙ œ œ .
? ### œ œ œ ˙ œ œ
œ ˙ œ œ œœ ˙˙ w. œœ
Pno.
œw ˙ œœ ˙ ˙ w . œœ
œœœ œw ˙ œœ ˙ ˙ œ
# # ˙ œ #œ ˙ ˙ w nœ œ ˙ #˙ ˙ ˙ œ #œ ˙ #˙
& # ˙ ˙
13
## ˙ ˙ ˙
& ### ˙ w ˙. œ œ #œ œ œ
- son, e - le - i - son, e - le - i - son, e - le - i -
#˙ w˙ . ˙
˙˙
œ #œ ˙ ˙ ˙e w e - lei n œ œ -˙ # ˙ son, œ #œ ˙ #˙
& # son,
A
˙
13
˙ ˙.
S
# #- son, e - le - i œ- ˙ . - i -œ nson,
Ky - ri - e - lei - son,
œ # œ œe œ œ- œ œ
œe œ # œ -œ œ # œ le˙ - ˙i -
V # ## # ˙ w ˙.
#œ ˙
œ œ ˙ ˙ ˙
son, le
& son, #˙ œ # œ œ ˙e - lew . ˙i -

T
˙
A
˙
? # # # son, œ œ -˙ ri - ˙e Ó e - lei∑
e - le - - - i - son, Kyr - ri - e -
˙ ˙. ˙ œ œ #œ „ „
# # ˙ .
Ky - son, e - lei - son,
œ n œ œ œ # œ ˙ ˙
V # -˙ œ œ #œ œ ˙ œ #œ œ œ
B
# # # son,
T
˙˙ œœ œ Kyr˙˙ #- ˙˙ ri - ˙e ˙œe œ - # le˙œ ˙ . œ # œ- ˙˙ # ˙˙i -
son, e - le - i - son,
œœe # œœ- œ le˙˙ # ˙˙- ˙ - w - œ # œi -nson,

13
&
?# # ˙ œœ œ ˙˙ . œ ˙ . œ # ˙
Ó ∑ „ „
Chapter 31
Introduction to Jazz Theory
This introduction to jazz theory focuses on the types of chords encountered

in jazz, how these chords might be voiced, how to voice lead these chords in
five–part harmony, and scales associated with these chords.
31.1 Jazz Chord Basics
1. Ninth chords are common in jazz.

(a) Four of the five common seventh chord types in classical and pop-
ular music will have ninths added to them; the exception is the
fully–diminished seventh chord.
i. The ø7 chord is also labeled as m7 (25) in jazz— Cø 7 is the same
44 as Cm7 (25) .
E b maj9( # 5) B b 7 # 9(# 5) Eb
(b) In
943 lead–sheet notation, adding “9” to a chord symbol means the 7th
&
is also present.
(c) “9” is “2” an octave higher and always comes from the major scale
unless otherwise specified.
C m9( b5)
& wwwww b www b ww b b b wwwww

945 C maj9 C9 C m9
ww b www
2. Alterations
a. (maj, ∆ b. , 4, 2, + , m,b.–) are applied c. as follows:d.
C # m6 C # (add b 6) C + 7 C b9 C (b 9) C 7( b 9)
(a) “maj”w
& wwww not the bw b ∫b b wwww n n n www b wwwww
b w b w b
C Δ9
# # #9th,
wwww 11th, # # #orwwww13th. # www
949
or “ ∆ ” with 7, 9, 11, or 13 refers to the 7th of the chord being
major,
(b) Lowercase “m” or the minus sign (“–”) means minor and applies to
the 3rd of the chord. (triangle still
i. The minus sign (–) is equivalent to a w
w w
954 C mΔ7 C mΔ9
& w w
applies to 7th)
flat when placed in front
of 9, 11, or 13 (i.e., 9 and –9b w
2 wmean bthe
ww same thing). “ C4 – 6 ”
4 4 4
(equivalent to “ C m6 ”) means a C minor chord (“ C –”) with
w
ww triadwwwith the 26 added
4
the 6th from major (A C 94). “ C C(add
13 –6),” whidh is equivalent to
C 9(13)
“ C (add 26) ,” meanswa C4 major

956
& b ww b ww b ww
4
(c) The plus sign ( + ) can mean ww “augmented

ww wwtriad” or is equivalent to
a sharp when placed in front of 9, 11, or 13. C + 7 means a C
B b7(13
b 9 seventh B b7(13
b 9 ) not a C
w w
augmented
F dim7triad (“C + ”) with a dominant (“7”),
major ∫triad
w with a major
F dim7 )
& b b www w w
b n www w b b www b n www
959
7th.
417
bw bw
enharmonic respellings
A b 7( #11) A b 7( b 5) or A¯7(˜11)
b wwww b www
C6 C 7(13) C 7(11) C 7sus
& wwww b wwww b bn wwww b n www

961
w w w
E b maj9( # 5) B b 7 # 9(# 5) Eb
943
418 & CHAPTER 31. INTRODUCTION TO JAZZ THEORY
(d) Chromatically altered chord numbers (affecting 6, 9, 11, b 13) are

w w w w
44 945 C maj9 C9 C m9 C m9( 5)
5) w b www orE flat is baffecting

b www b b borwww the added
usually set apart by parentheses so as to clearly designate whether
b # b &9 ( minus,
# #
ww plus, or sharp, b
w w w w29).
E maj9 ( 5) B 7the the chord
943
note. For example, consider C29 versus C(29) versus C7(
& a. b. b. c. d.
C # m6 C # (add b 6) C +7 C b9 C (b 9) C 7( b 9)
& wwww # b www b ∫ bb wwww n bn www b b wwww

C Δ9
# # www # # # wwww
949
w # w w bw n w w
C m9 ( b5)
ww3. If a chord has
b www a 9th but no 7th,
b www use Cthe term ww9.” In popular
945 C maj9 C9 C m9
& www music, sometimes b bstill

ww “2” or “add 2”biswwused instead b wwwthe
“add
(triangle
w www to
954 C applies mΔ7 mΔ9
44
& w
to 7th)
b ww E b b ww
(refer Chord Labels
E b maj9 ( 5) B b 7 9 ( 5)
#
section). # #
a. 943 b. b. c. d.
+ 7 common
&ww C # m6 In addition
C # (add b 6)to the
C Δ94. 956
m ∆ 7 Chord: C 9Cfive b 99(13) C (chord
Cseventh b 9) Ctypes,
7( b 9) jazz
b ∫ bb wwww n bn www b b wwww

www ww
# b www
C 13 C
& ww # # www # # # wwww

w
949
includes use of the minor–major seventh chord (a minor triad with a
b w b w
& www ( ∆ ) wwwused primarily b w
www
w # w w bw n w w
major seventh). This chord will commonly have a ninth added as well.
You will see the “major” symbol in jazz. Popular
music typically uses “maj” instead.
B b7( B b7( b 9 )
m9 b 9 still
w w C m9 ( b5)
13 13
www ∫w
w wwwb b wwww b b b wwwww
F dim7 F dim7 )
& b b www b n www b n wwww

945 C maj9 C9 C
b www w b
959 (triangle
& ww www
954 C mΔ7 C mΔ9 applies to 7th)
ww & w b ww b wb w
ww wrespellings
benharmonic bw
A b 7( #11) A b 7( b 5) or A¯7(˜11)
# b ww (“11” is w“4”+an octave

5. 11th and
b. 13th Chords:
C6
C 9 b.11ths
C 7(13)
C 13and 13ths
C 7(11)
c.9 (13always
C 7sus come
d. from the major
www ww
a. 961
b bn www C b 9b n ww C (b 9)
# m6b w specified.
C )
“6” an& www Chigher.)

wwww C (add ww b 6) b wwC 7 C 7( b 9)
956 scale unless otherwise higher and “13” is
www w & bw wwww b wwww b wwwbww b ww∫ b w

w b ww b w b b w
n n ww that www
C Δ9
& # # ww # w w # w b w
949 octave
ww w
w up to #the highest w
w numberw are assumed.b wC9 means
(a) All numbers
# w # w
the 7th is also included below the 9th. C13 means C–E–G–B2–D–F–A—everything w bw n w w
B b7( bwe B b7( b 9 )
w w
13 will use C9(13)—to
13
F dim7 up to theF13th. For this reason, specify
∫w
dim7 9)
& b b www b n wwww b b wwww b n wwww

959
C–E–G–B –D–A—instead of C13, which would be used in the real
2
(triangle still
ww b w
world to describe these notes.C mΔ7In the real world, a composer or
w bw
954 C mΔ9 applies to 7th)
& b www b www

arranger writing C13 will assume the pianist or guitarist knows to
omit the unaltered 11th because it clashes with the major 3rd of the
chord. In this music enharmonic respellings
theory course we will be specific as to which
notes are included and left out. b # b b or A¯7(˜11)
b wwww b www
C6 C 7(13) C 7(11) C 7sus A 7( 11) A 7( 5)
wwww b wwww www b bn www ww b n ww

C9 C 13 C 9 (13)
&
961
w& b www
956
w
ww
w b www b ww b www b ww
w w
itb7( 9 B b7(13 )
b b9
www ww
6. 6 chords: If a chord has a 6th and a 9th, call B a 136 chord (C 6 ) instead
∫w
F dim7 F dim7 9 )
b n wwww
9
& b b www b
9
b www
n
959 of a 6 chord. The major 9 uses the major third (C–E–G–A–D) while the
9 6
minor 69 uses the minor third (C–E2–G–A–D). The “6” always comes from
b ww
bw bw
the major scale unless otherwise specified. (Refer to the Chord Labels
section for examples.)
enharmonic
7. Enharmonic respelling: Jazz musicians respellings
will sometimes respell double–flatted
b 7( #11the A b 7( b 5)
notes and double–sharped notes enharmonically because for some musi-
b www b www
C 6cians theory
C 7was C 7(11)
(13) viewed more C 7sus of the pianoAthan
from the aspect ) staff. or A
& wwww b www b bn wwww b n www

961 This may at times include enharmonically respelling notes like B , C , E4,
4 2
ww ww w
and F2 (although these notes sometimes will be used).
bw bw
44
E b maj9( # 5) B b 7 # 9(# 5)
C 13 b
ww w
C9 C 9(13)
& b wwwww b wwww b wwww

956 E
943
31.2. &
CHORD SYMBOL SPECIFICS w w 419
B b7(13
b9 ) B b7(13
b9 )
C m9w w
b b ∫wC maj9
www
F dim7 F dim7
bb nwwwwww b ww b n wwwbwww
C m9( b5)
959
&
& www w b wwwb b www
945 C9
ww b ww b wb www
w w
enharmonic respellings
Abb 7( #11) isb 7(theb 5) root

a. b. b. c. d.
8. For theC 6 purposes
C # m6
of this text,C # (add b 6)
we willCC7sus+7
assume the Cbass noteC (b 9) C 7( b 9) or A¯7(˜11)
ww wslash bchords
wwb w (E/C,∫ bnfor
C 7(13) C 7(11) A
whenwanalyzing chords. While wwwwtheexample)b ww n wb bare www used
www this chapter
C Δ9 9
&jazz, #b w# w w b# w # w b n
949
w
#www ww therefore# # wwwwwwill not include
wwww bbbbbwwwwwwof nslash n wwb chords.
ww ww of
961
jazz w
in wharmony and is meant as an introduction to fundamentals
the use bw
(triangle still
w ww
954 C mΔ7 C mΔ9 applies to 7th)
31.2 Chord Symbol Specifics
& b www b www
1. “6” versus “13” rule: label the 6th of a chord “6” only if the 7th is not
w w
present; if the 7th is present,
C 9 label the
C 13 6th asC“13”
ww the w4th of a chord “sus” only if
9(13)
b wwww “4”):b label

956
&
2. “11” versus “sus” (“sus” means www b www
the 3rd is not present; if the w w
3rd is present, labelw the 4th an “11” (C7sus
has C–F–G–B2). (There is an exception to this in more advanced jazz
theory, which is not within b7(13
the purview of Bthis text.)
b9 ) B b7(13
b9 )
∫ w w w
F dim7 F dim7
b b www n wwww have a chordb bwith wwww n wwww altered

959
a& (because you bwon’t a regularb and

3. 25 versus 411: If the chord has a normal 5th (C–E–G–B 2 –F 4 ), call the F4
“ 411”
at the same time). Otherwise, you can call b wthe F4 of C–E–B b w 2–F4 a “ 45th 11”
or a “ 25.” enharmonic respellings
A b 7( #11) A b 7( b 5) or A¯7(˜11)
b wwww b www
C6 C 7(13) C 7(11) C 7sus
& www b wwww b bn www b n ww

961
w w w w b ww b ww
(no 7th) (no 3rd) (no regular 5th)
31.3 Altered Dominant Seventh Chords

Typically, a dominant seventh chord is considered altered if either or both
the 5th or 9th are chromatically raised or lowered. (“G7alt” might mean a G7
with both an altered 5th and 9th, but is vague in that it doesn’t specify how
the 5th and 9th are chromatically altered.)
1. Root, 3rd, and 7th of dominant seventh chord remain unchanged.
2. 5th may be raised or lowered (45 or 25, which can also be written with
pluses and minuses as + 5 or –5) and can be respelled enharmonically (the
45 of a C745 could be written as an A2 instead of G4) for ease of reading
because the chromatic spelling agrees with B2 (the 7th of the chord)—it
is easier to read a chord where the accidentals agree (all sharps or all
flats).
3. 9th may be raised or lowered (49 or 29, which can also be written in the
lead–sheet symbol as +9 or –9). The 49 is often spelled enharmonically
on the staff as 210 for ease of reading; therefore, a dominant seventh chord
with a 49 will appear to have both a major and minor 3rd (C–E–G–B2–E2).
You may be tempted to call such a chord a minor chord with a 211, but
211 is not used because it is the major third of a chord.
420 CHAPTER 31. INTRODUCTION TO JAZZ THEORY
4. Both alterations of 5 and 9 may occur simultaneously (±9/±5).
5. 213 is the enharmonic equivalent of the 45. In this text, 45 is preferred

to 213, but you will see both on lead sheets. Also, 213 implies that the
unaltered 5th occurs in the chord, while 45 does not. 199
2. 3. 4. 5.
C 7( b 5) C 7(# 5) C 7( b 9) C 7(# 9) C 7( b13) or C7(˜5)
bw
_
C 7+
b bb www
9
b b www b b www
+_ 5
& b n b wwww b b www bw

2
¯5
ww n ww ww
¯9
w ˜5
? b b ww ˜9
n ww
respell ˜5 to agree with ¯7 respell ˜9 to agree with ¯7
∑ ∑ ∑
preferred
If you are composing or arranging and want to know when to use altered
chords,6 know that dominant sevenths are usually altered (with altered 5th or
& when they have dominant function (i.e., when the root is going
9th or both)
to resolve down by a fifth). Dominant sevenths are often unaltered when they
?
have tonic function, i.e., the first chord in a blues.
31.4 Chord Labels

22
& list of chords is edited and condensed from The New Real Book
The following
(Vol. 1), published by Sher Music Co.
? 45
www w
6 6
964 C6 C m6 C (add 9) C m (add 9) C9 C m9
& www b wwww www b wwww ww b wwww

w 30 w
&
w www
# #
# w #
45
w w w
970 C7 C9
Figure 31.4.1: C
Triads C 9(13)notes
9( 11) with added C 13( 11)
b
& www ?Cw6 C bm6 w
www b w
www b w
www w b www C m
w www
6 6
964 C (add 9) C m (add 9) C 9
& www www www

9
b www b www b ww
wC Δ7 w w w wC Δ7(# 5)
www C 9
C Δ9
#
C Δ9(# 11)
w
www C 9( 11) www # w
C Δ13(# 11)
w
C Δ7(b 5)
& Cwwww6 w w wwwbCwwwm

# C 13( #11)
975
# w
45
wwC m6 w # w
wwC (addb 9)ww wwC m (add 9)b ww Cww #
C7 C 9(13)
www ww
970
b
& www & w b w
www www www w b
6 6
964
b wwwCwm7(11) wwwC m13 wb wwwwC m13(# 11)

38 9
w w
9
& www C m7 b wwwC m9 wwwCwm11

ww www # 11)Dominant ww seventh Cw
wwΔ7(# 5) # wwwwΔ7(b 5)
b w b b b
w b w b
# 11)
981
& b Cwww7? wwwC 9 #bwwwwww C 9( 11) #bwwwwww Cw9(13)b wwww b www#11)

chords
w
C Δ7 C Figure
Δ9 31.4.2: C Δ9( C Δ13( C
w
#
w w w
975
& w w # w
www b ww www b ww # www # w
& bwwwwww C m7( b5) ww b wwwww b wwwb www
970 C 13(
www b5) www C m11( b 5) w

w
w www
987 C m9(
& bCbΔ7www b w Cbm11

b bw www# 11)w b Cb m13
w w C m13(# 11)
ww ww ww b wwww w # wwww b 5)
C m7 C m9 C m7(11)
w
# #
b w b # w b # wb b b
981
& w www www bww9sus ww ww

bCwww13sus www b 9 w
C Δ9 C Δ9( C Δ13( C C
& bwwwwC susww #bCwwww7sus b wwwwbCwww13susb 9

975 11) Δ7( 5) Δ7(
wwC 7sus Cw ww w w www

b wwww C m9( b5)b wwww b b wwww Cwm11( b 5) b b wwww
990
& wwwCCm7m7( b5) b wwwwC m9 www Majorw Cseventh www

wb Cbm11 wb Cwbm13 wCwm13(# 11)
987
& b b b wwww bww w w

w bb#wwww9 ww C 7b#95b #b wwwww C 7 bb 95
chords
& b b wwwwC 7( b5) C b7(wwww# 5) C 7( b 9)b b wwww wC 7(# 9) b b wwwwC 7 #b 59

Figure 31.4.3: m7(11)
981
Cb 7 #w
996
C 7sus b w C 9susb w Cb13sus w b w w5 b
C 7sus 9 b w
w b wb 9
b w b w b w b w w
b w b w
n bwwwww Cwm11( b 5)ww b b wwwb b n wwww
& b wwwC m7( b5) bwww
C sus
b w www b ww Cn wwwm9( b5) b b wwn www b w w b b w w C 13sus
990
& wwwb w ww w ww b ww w ww w b w ww
bwb b wwwww
987
& b b www b b www

o # #9 b9 # 11 b
b
C 7 # 5 C 7 # 9Cb 7 b 95
w
7( b 5) C #mΔ9 C 7( b 9) C dimC 7(# 9) CC77 b 9 C 7C# 5dim(Δ7)
Cw7sus
bw bw b wC 7sus
b
b Cw13sus 9
996 CCmΔ7 C 7( 5) 5 9
990 C sus C 9sus C 13sus
45
# www # ww # wwww
C Δ9(# 11)C 9( # 11) C Δ13(# 11) C 9(13) C6Δ7(# 5) #11)b 5)
CCΔ7
7
w
C Δ9C 9
w ww # www w
C Δ7(
C 13(
w w w
970
bwwwwwwHOW TOwwWRITE bwwww JAZZ b w b w b wwwbwww 421

975
w
6
& w
www www bwww w www wwww # w
964 C6 C m6 C (add 9) C m (add 9) C9 C m9
& www b w ww w w w w wb www

w w w w w
31.5. CHORDS
b 5) # 11)
45
C 9( # 11) w
# 11) # 11) # 5)
C 9(13) w C 13(w
# w Cw(add 9) # w Cw m (add 9)w Cw
# wwwbbwwwww # w
C# m13(
wwwb www wwwb ww # ww wwwb w w # wwb ww
C Δ7 C m7 C Δ9 C m9 C Δ9( C m11 C Δ13( C m7(11) CC Δ7(m13 C Δ7(
wwwb ww
975
981 C7 C9 11)
& w w w w
970 6 6
b b w b w b w b www wwb ww
C6 C m6 C
w w w w b w w bw w b w w
964 9 m
& wwwwwww wb wwwwwwww wwwwww www bwwwwww www wwww

9
w wb ww 45
b b
Cw ww# 5) C 13( Cw
C m13(# 11)
b 5)
w w
# 11)9)C Minor
w w
# 11)9)C 9(13)
w # w
C C Cseventh chords C
#11)b 5)
987 m7( m9( 5) m11( 5)
b w w wb w 9( # 11) CCΔ13(
w w b w w w
Figure 31.4.4:
# w # w
C m7 C m9 C m11 m7(11) C m13
w w
6
& b b ww b w w# w b w bb w w # wb w
6
wwwbwwwwwb ww bwwwwwwwbwwww wwb wwww bwwwwwwwwwww b wwww #bwwwbwww ww b wwwwb wwwb www
964981 CCΔ7
67 CC Δ9m6 CCΔ9( (add m (add m
& bwwwwwwwwwwwww
C9 9 Δ7( 9 Δ7(
&
970
975
bwwww ww
w w w w
w w w C 7susb 9 w C 13susb 9
# 11) w
ww# 5) #bwwb13(CwwwCΔ7(
C 9susC m9( b5) C 13sus C m11( b 5)
w w # 11) w b wCCΔ7(
#11) #
C susC m7( b 5) C 7sus
w
990
b w b w #
# 11)
w b w w b w w
987
b w b w b w
b 5) 11)
w w w # w w w #w w w w w w # w
C7 C9 C 9( C 9(13) C
& b w w w w b w w w
b w w
970
& wwbwwwwwwww wwwb wwwb www wwwwbbwww wwb www wwwwb ww b www #wbwwbwwwww b wwwbb wwwww
C Δ7 C m7 C Δ9 C m9 C m11
C Δ9( CC m7(11)
Δ13( m13 m13(
975
981
& bww ww wwww w bwwww w b wwww # w b ww#ww w bww

9 b9 b 9 ww b 9 b 9
m9( b5) wC Δ13(# 11) 5) b 5) 5 Cw
C 7( b 5) # b # b 5 seventh# 5chords
9
# C 13susC 7 b 5
C m9 b w w C m11
C Δ9(C# 11)
b w w w b w b bw w C#m11(
b wΔ7(b 5) #
Half–diminished
b w b ww11)
990 C sus C C 7sus C C 9sus C C 13sus
C C C 7sus C
# w # w w
7(
Figure 31.4.5: 5) 7( 9) 7( 9) 7 7 7
b w b w b w b w b w
996
w w
C Δ7C m7( b 5) C Δ9
& bw w b b w w w b w w b w w b
w w w b b w w w w b b w w w b
C Δ7(
b w w w w w w w b
w w w
n ww#wbwwb wwwww ww b wwwwww n www
w w # w b
987
b w w b w w w b w w
975
& bbwwwb wwwwwwww wwwwb www ww wwwbbbwww wwn ww wwwwbn www

C m7 C m7(11) C m13 C m13(
&
981
w ww b ww w w b ww #9
bwwww wb ww
# 5)
#9 b9 b
C 7( b 5) C 7( b 9) C 7(# 9) C7 b5 CC7 #7sus b 9 C 7 # 5 C 13sus
# 11Cb#7911)
b5
wb w o ww
bw w
9
b b bwwwwwwbwwww b b wwww b wwwwbb wwwwbbbnwwwwwww

b wb wwwb bn www b b bn bwwwwwbbwwwwwb wwww b b b wwwwbbbbw#bwwwwwwwb b bn wwww
C m9( b5) b
996 CC7(7sus
b bb wwb w
m7( b 5)
C sus C 9sus C 13sus
C7 #9
990 CCm7 C m9 C m11 C m7(11) 5 m13
C C m13(
&
987 C mΔ7 C mΔ9 C dim C 7 C m11(
C dim(Δ7) 5)
& bbbwwwbwwwwwwwww
981
& wbwwwwww w bwb wwbww www

w w b w#b wwwwww bwb#wwwbwwwww w n bwwww w
#9 # 9 Cbm11(
b 9 bC 5)7 b# 9 C 13sus # 11Cb79bb 95
b 5) b 5) CC7(7sus # 5) 7( b 9) 7( # 9)5) CSus
w o 7 b 5chords CC 7 #7sus
w 5 w
& bbwbwwwb www b b wb wwwww b b www b wwwbwbbbbwwwwwww b wb bwwwb www b b bb wwb wwwbwbwb wwww b b b wwwbbbbwb wwwb b b www
987
CC 7(m7( CFigure C 9susCC 31.4.6:
m9(
7 #9
990
996 C sus C
13sus 5dim(Δ7)
C mΔ7 C mΔ9 C dim C 7 C C
&
& bwwwwwww wwbwww ww b wb ww nwww b #wwwn ww nbww#wwww ww n ww n ww
& w w w w b9 w b
ww Co 7 b 5
C 13sus# 9 #
C 7# 5 w # C 7 b 5
b C 13sus 9 b 9
& wwbww b b wwwww b b ww www b b ww wwwb b ww b b wwwwww b b b wwwb bbwbwwwwCw7b#b9ww

w b w
C 7( b 5) C 7(# 5) C 7( b 9) C 7(# 9)
990 C sus C 7sus C 9sus C 7sus
C 7# 5
b w b w b w b w
9 9
996
11
& b www wwwww ww w b w n ww# ww ww b wwb n www

C mΔ7 C mΔ9 C dim C 7 C dim(Δ7)
& b wwww b
& b ww# w b b ww n ww b # wwn www #
& C 7( 5) C 7( 5) Figure C 7( b 9)
w C 7(# 9) wC 7 b 59 bC 7ww## 9 b 9n w
C 7# 5
w C 7 bb 9
b w b w b w
o b w b w #b11w
996
& b bCwwwwmΔ7 b b wwwwC mΔ9 b wwww C dim b n www b b Cn www7 b b n wwwC dim(Δ7) b b www b Cwb7b #n9www
5 5
31.4.7: Altered chords
& b www b
w
www b b w
w
w
b # www w
b
w
# www w b bn wwww w
&
& w w w w w w#
o
b w
C7 #9
11
w b bn wwww
C mΔ7 C mΔ9 C dim C 7 C dim(Δ7)
& b wwww b wwww b b www b # wwww b # wwww w

&
&
Figure 31.4.8: Other chords
&
&One finds that almost any combination of triad or seventh chord plus any
alteration or combination of alterations is possible.
& How to Write Jazz Chords

31.5
To write a jazz chord after being given a lead–sheet symbol, begin with all of
the major notes up to the 13th.
Let’s work through this with the following label: Dm ∆ 11.
Dm means D–F–A. The ∆ 11 means there is a major 7th, regular 9th, and
regular 11th, not that there is a major 11th. Remember, D11 would mean a
D7 chord with the 9 and 11 (all chord members up to the 11th—D, F4, A, C,
b wwwwb w ww
C 9 ( # 11)
#w
b wwww b wwww
970 C7 C9 C 9 (13)
b www
&b b wwwwwww
& w
major 13th
perfect 11th
w w w
major 9th
422 CHAPTER 31. majorINTRODUCTION TO JAZZ THEORY
b ww
46 7th
perfect 5th
perfect
major11th
3rdwith no 3rd = "sus"
& D mΔ11 ww
lowered
root 9th
# wwww
# C Δ13(# 11) C Δ7(# 5)
E, G). D ∆ 11 would mean a D ∆lowered7th
7 chord with all members up to the 11 (D,
ww # www
F4, A, C4, E, G). Δ7 major
C 6th is "13" when 7th is present
no 5th (incompleteΔ9 C Δ9( 11) C
# wwww
975 voicing is normal)
& www www www www

www
no3rd
root
#
& b wwwwwww
"11" means 7, 9, and 11 are present
& www b w
www
major"Δ"
13th means Δ7
b wwww b www
perfect 11th
w
C m7 C m9 C m11 C m7(11) C m13
b w bw
major"Dm"
9th means D minor triad
981
& b ww chord: E7 www .

w b www
major 7th
b ww b ww
perfect 5th
major 3rd
root 411
&
Let’s try this with another 49
45
m9 ( b5)
E7 means we have E–G4–B–D. When we look at the altered notes, we see
ww
b 5)a C6 because that agrees C
w b b b wwww
D mΔ11 C m7
987 a B4, then change it (to C m1
b www b b www
b
45, so we add chromatically
& w b
# ww w b
with the 7th, D. When we add 9, we add F , which looks overly complicated,
4 5
& w w
ww
so we enharmonically respell it as G6, which agrees chromatically with the D
(7th) and C (4&
"11" means 7, 9, and 11 are present
5). The 411 can be an A4, an augmented 2nd above the G (the
"Δ" means Δ7
49), or we can respell it as a B2. Both A4 and B2 are acceptable, although
b
ww
notes of D–G–B2 form"Dm"
the upper990 means D minor
triadtriad
C sus a G minor and therefore are easy to
C 7sus 9
b wwww b b wwww
C 7sus C 9sus C 13sus
b www b www
sightread.
& ##ww11w
&
w w w w
b ww 5 C
E7 #
9
#9
w
#9
w C 7as(# B¯;
7( b 5˜)11 spelled C 7(# 9)
b 9) C7 b5 C 7# 5
& #&wwb b www

5) A˜ is C
b b www b ww
b b bn wwww
also
7( acceptable
b b www
996
b b www b b
˜9 respelled as ¯10 on staff
&
w
˜5 respelled as ¯6 on staff
w
E7 is E-G˜-B-D
ww n ww b n www w
&&to Analyze
31.6 How C mΔ7 Jazz Chords
o
ww
C mΔ9 C dim C 7 C dim(Δ7
& b wwww b www

To analyze a jazz chord, on scratch paper write out all the major chord mem-
b b www b # wwww b # wwww
b wwww
bers up to the 13th. These include the major 3rd, perfect 5th, major 7th,
major 9th, &
perfect 11th, and major 13th.
& b b www
major 13th
perfect 11th
major 9th
major 7th
perfect 5th
major 3rd
root
In order to analyze the following chord, determine the following:
&
1. The quality of the 7th chord
2. The upper structure (9, 11, and 13)
3. Any alterations to any of the chord members
4. If any of the notes are enharmonically respelled

b ww
& b ww
C 7( b 5) C 7(# 5)
major 7th
7( b 9) 3rd C 7( # 9)
perfect 5th
C7 b5
#9 #9
C 7# 5
b9
C 7# 5
b b www b b www bw bw b b b www

C major
w
996
& b b www b b www b b n www b b n www bb

b w
ww n ww ww
31.6. HOW TO ANALYZE JAZZ CHORDS root 423
w w w w
b b w
w
& w
C mΔ7
b www
w
C mΔ9 C dim
o
C 7 C dim(Δ7)
w b b ww
b ww
C7
& b www b www b b www b # wwww b # www n ww
b wwww
Work through each step (see the example below). Compare this chord to
& b b www
the scratch paper version with all the major notes up13th
major to the 13th. We have an
E2 dominant 7th chord. The G2 can’t be the minor perfectthird
11th because we already
have a G6. If we consider the G2 enharmonicallymajor as an9thF4, we see we have a 49,
major 7th
which we noted earlier is often spelled as 10 so as to agree chromatically with
2
the 27. The A is the 11th, but it is an A6, so it isperfect
a 411.5thIt is not 25 because we
w
major 3rd
b w
would not have both a perfect 5th and altered 5th in the same chord. There
root
is no C in the chord, so there isn’t a 13th.
b w
& b www
b
no 13th
raised 11th
¯10 = ˜9
lowered 7th
perfect 5th
major 3rd
root
9 .
The final label is E27 411
b bwwb b wwww
4
Let’s try another chord.

46
b&ww w
46
perfect 11th with no 3rd = "sus"
perfect lowered
11th with
9thno 3rd = "sus"
& w
major 9th
lowered7th
lowered7th
major 6th is "13" when 7th is present
major 6th is "13"
no 5th when 7thvoicing
(incomplete is present
is normal)
no 5th (incomplete
no3rd voicing is normal)
no3rd root
www
root
w b
b www ww
Again, work through each step. First, write all the major notes up to the
13th.
major 13th
& w w
perfect 11th
major 13th
& ww w
perfect major
11th 9th
major 7th
major 9th
perfect 5th
major 7th
perfect major
5th 3rd
root
major 3rd
root
b b b wwww
Compare this scratch–paper “all major and perfect” 13th chord to the chord
&
46 to be solved.
& perfect 11th with no 3rd = "sus"
& w
lowered 9th
lowered7th
major 6th is "13" when 7th is present
no 5th (incomplete voicing is normal)
&
no3rd
&
root
b wwww
w
major 13th
&w
perfect 11th
&
major 9th
major 7th
perfect 5th
We notice we don’t have an A, and we remember that we might have a sus

chord where the 4 (or sus4) substitutes for the 3rd. We see we have a B2, which
confirms this. We also do not see a C, but we remember that it is common to
omit the 5th in a chord (see Incomplete Chords). Therefore we have F–B2–E2,
making an F7sus chord. When we examine for upper structure notes (the 9,
11, and 13), we find a G2 (the 29 of the chord) and a D (the 13). Remember,
the B2 is the sus (the 4th), not the 11th, because we have no 3rd (see 11 versus
Sus).
The final label is F13sus(29).
“F13” means we have root, 3rd, 5th, 27th, 9th, 11th, and 13th. “Sus” is
a modifier that means we have the 4th, which eliminates the 3rd as well as
j‰ ‰ jŒ
the 11th because “sus” and 11 refer the same note (B2). “ 29” means the 9th is
c chromatically. jÓ j
19
& œ .œ œ . œ œ œœ b ˙˙
b b œœœ ... œœœ œœœ ... œœœ .... œœœ ˙˙˙ b œœ .. œ w
200 lowered
œœ ˙˙ b œ . n œœ ww
? j # ˙ n œ . œœ ww
31.7cc Jazz ˙ jChord b ˙ j Ó j j œ . œ œ
& b œœœ ... œœœ ‰˙ œœœ ... œœ .. œœ Ó ‰œ .œœ Œ œb ˙˙ ˙˙œ˙. œJb œœ ... œJj w
19
200 Voicings
b œ . œ œ . œœ .. œœ œ œ ˙
˙ b œ . n œœ ww
? cvoicings. jB b7# ˙ n œE b.±7œœ Awwb7
In this section we will define guide tones and learn about two types of jazz
˙ b5) A˙ 7 b ˙ C m7 Ó F 7 Fj œ . œ
œ. œ œ. œ œ. J
24
chord
˙ # ˙˙
&c ˙
E m7( m7
J
? Guide Tones
c E m7( b5) ˙A 7
31.7.1
˙C m7 ˙F 7 b ˙
B b7 E b ±7 b
b ˙A 7
24
˙ # ˙ ˙ b ˙
& c Tones
F m7
Guide ˙ are˙ the 3rd and 7th of a chord. In any circle of fifths progressions
(including ii–V–I and iii–vi–ii–V) the guide tones move by step.
? c G m7 C 7 ˙ b ˙ G m7 bC˙7
˙ ˙ 3rd ˙˙ 7th ˙ b c ˙ 3rd
˙ ˙ 7th b˙
28 F maj7 A m7 D m7 F maj7
& b c ˙ 7th ˙ ww 3rd

˙ ˙ ˙
˙ ˙3rd ˙ 7th w
w 3rd
˙
3rd 7th 7th 3rd 7th 3rd 7th
? b c ˙G m7 C 7 wF maj7 ˙A m7 D m7 ˙G m7 C 7
bb cc ˙ 3rd ˙˙ 7th ˙ 3rd ˙˙ 7th ww 3rd
28 F maj7
& b c ˙˙ 3rd ˙˙ 7th ww 3rd ˙ ˙ ˙ ˙ w

˙ ˙the entire
7th M7 7th
F: ii7 V7 3rd F: iii7 7th vi7 3rd ii7 7th V7 3rd IM77th
˙
I
?Playc w circle of fifths
c with dominant
˙ ˙ 7th chords
˙ w
b through
b (C7–F7–B 27,
b hand
33
the&right
etc.) with the bass note in the left hand and the guide tones (3rd and 7th) in
F: ii7 and7 observe
V M7 how the 3rd and
I 7 7th7 are the7 same7 for bass
F: iii vi ii VM7 notes a
I
tritone from each other.
? b Cœ 7 b Fœ7 B b7 E b7 A b7 D b7 G b7
& 46 b œ œ b œœ b œœ b œœ b œœ
B7 E7 A7 D7 G7
b b œœ # œœ n # œœ # n œœ n # œœ n œœ
33
? 46 œ œ bœ bœ
3rd and 7th are enharmonically equivalent
bœ bœ bœ nœ
œ œ nœ
œ
tritone
35 Also, you can play through the circle of fifths alternating between 7(13)
&
chords and 7(49) chords—C7(13)–F7(49)–B c 27(13)–E27(49)—with the right hand
descending chromatically. This can be repeated with all of the bass notes a
tritone away (starting on F4 in the left hand) and the qualities are exchanged
for?all the chords.
c
? 46 œ œ bœ bœ
bœ bœ bœ nœ
œ œ nœ
œ
31.8. STANDARD CHORD PROGRESSIONS 425
tritone
# b b # b b # b # # #
œœC 7(13)b b œœF 7( 9) œB 7(13)b Eœ 7( 9) œA 7(13)n œD 7( 9) b œG 7(13) B 7( 9) E 7(13) A 7( 9) D 7(13) G 7( 9)
& 46 b œ œ b œœ b œœ b œœ n œœ b œœ œ #œ nœ nœ bœ
# œœ # n œœ n # œœ # n œœ n œœ
35
?6 œ œ
4 bœ bœ bœ bœ bœ nœ œ œ œ nœ
31.7.2 Jazz Chord Voicings

In this section we will examine two categories of voicings.
1. The first category (“spread” voicings) has 5–note chords with the root,
3rd, and 7th as the lowest notes with other chord members voiced above,
often in the interval of a fourth or fifth. (The root will always be the
lowest note, while the 3rd can be voiced above or below the 7th).
2. The second category (“close” voicings) has 5–note chords with the bass
note in the left hand and the other four notes in “close position” in the
right hand, usually with the 7th or 3rd of the chord as the lowest note
in the right hand. 201
“Spread” voicings “Close” voicings

201
˙˙ b ˙˙˙˙
C 9(13) C 9(13) C 9(13) C 9(13)
c ˙ voicings ˙ 13th
37
& ˙ 13th b ˙˙˙

“Spread” 9th “Close” voicings 9th
13th 3rd 13th 7th
˙˙ b9th b ˙˙˙˙ 9th

C 9(13) C 9(13) C 9(13) 9th C 9(13) 3rd
˙˙ 3rd
9th
& c ?˙˙ c 13th ˙ 13th 3rd

37 7th
b˙
(lowest)
b ˙˙˙ ˙9thRoot
(lowest)
˙ ˙ ˙ ˙
7th
13th 7th 13th 7th
9th 3rd Root3rd
b ˙˙ 3rd
Root 7th
b ˙ 7th
Root (lowest)
?
(lowest)
c ˙
˙ (like sus chords)
Some chords 3rd ˙ Root
do not have a˙3rd,
7th
Rootand some ˙
do Root
not have or a
Root
7th (like
39 C 6 or C 6 ). In those cases, voice the sus4 like you would the 3rd, and
likewise&
9
voice the 6th as you would the 7th.
˙˙ ˙˙ sus b ˙˙˙˙sus ˙ ˙˙
6 6 6 6
C 13sus C 13sus C 13sus C 13sus C9 C9 C9 C9
& ˙˙?
39
˙˙ ˙ ˙˙˙ ˙˙ 6th
b ˙˙ ˙ 6th
? b ˙˙˙ b ˙˙ sus
˙˙
˙
˙
(lowest)
˙ ˙ ˙ ˙ ˙ ˙ ˙
3rd
7th 7th 6th
sus 3rd 6th
47 Root Root Root
&
Root
sus (4th) substituting for 3rd 6th substituting for 7th
?
43
Sometimes you will need to omit the fifth to maintain five parts.
&
31.8 Standard Chord Progressions
In?
this section we will focus only on the ii–V–I progression and the iii–vi–ii–V
55
& Both were already mentioned in Section 9.3.

progression.
31.8.1 II–V–I
63 ?
&
The II–V–I is one of most common progressions in jazz, especially in tunes
like “Autumn Leaves,” “What Is This Thing Called Love,” “Tune–Up,” “Pent
Up House,” “Lady Bird,” and “Firm Roots,” to name just a few. In major the
?
progression
63 is Dmin9–G9(13)–C ∆ 9. In minor it is Dmin7(25)–G7alt–Cm 69 .
&
?
71
&
wA 7 # 5 wG 7 # 5
n VI
ww7 n ˙˙˙7
C 9(13) D m9 C 9(13) E 9(13) D 9(13) D 9(13)
b bn Vwwww7alt. #II˙˙˙˙7 b n ¯II

b ˙˙7˙
61
& wwI7w wwiiw7 ˙I7

# ww b ˙˙˙
202
bw w 3rd phrase #¯III
˙ n˙
? w b˙
426
w ˙ ˙ b˙
CHAPTER 31. INTRODUCTION TO JAZZ THEORY
67 w wD m9
D m9 G 9(13) C maj9 G 9(13) C maj7
& œœœI œœœ VI ˙˙˙ œœœ 3rd phrase œœœ

¯III7 ¯II7
7 7 ii7 V7alt. I7 II7
œ œ ˙ ˙˙
˙
? œ œ œ ˙
œG 9(13) ˙C maj9 œ œ
67
D m9 D m9 G 9(13)
˙C maj7
& œœœœ œœœ ˙˙˙
69 œ # ˙ The II–V–I œœœProgression œœœ
# 9Major
˙˙
˙
? œb D m9( b5) G7 #5
œ œ G7 #5
˙
Figure 9
31.8.1: D m7( b 5)
in
˙
6 6
& b b n œœœœ œ b b œœœ

Cm 9 Cm 9
nœ
˙˙
n ˙˙ œ œœ œ b œœœ ˙n ˙˙
œ ˙
? b bC 9(13)œ #9 #9
G7 #5 œ œ # 9E b9(13) ˙ D 9(13) D b9(13)
b D m9( b5) n Aw7œG# 57 ## 95 D˙Cm9m D m7( b 5) œ
69
œ n ˙˙˙ ˙C#m˙˙ n b ˙˙
C 9(13)
b w
61
G7 #5
& b bwwbw œ w w ˙
6 6
w w w b w
b œ n w œ b ˙˙ b œœ# ˙ ˙ ˙˙ b n ˙˙
w ˙
9 9
202
& b w n œœœ # bw œœ w˙˙˙
nœ n˙ œœ œ n ˙˙
? w b ˙
? bw œ
b w ˙ w œ ˙ œ ˙ ˙ b˙
b
71
& œ œ œ
I7 VI7 ii7 V7alt. I7 ¯III7
˙ II7 ¯II7
? bb
3rd phrase
bb bb
71
Figure 31.8.2: The II–V–I Progression in Minor
& D m9
67
G 9(13) C maj9 D m9 G 9(13) C maj7
& œœœœ œœœ ˙˙˙ œœœ œœœ ˙˙

œ ˙ ˙
? bb
? œb œ œ
31.8.2 III–VI–II–V
˙ is called a turnaroundœ because˙ it replaces
The iii–vi–ii–V œprogression
œ ˙
static harmony of the I chord in the last two measures of a tune with harmonic
the
motion that leads to the I chord that will occur upon repetition to the top of
69
the form. This b also applies #9 to the I–VI–II–V progression. #9
G7 #5 G7 #5
bb b canœ modifyb œa iii–vi–ii–V turnaround so all four chords are dominant
D m7( b 5)
6 6
D m9( 5) C m9 C m9
& chords: œ 7 –II 7˙˙–V

n œœœ IIIb 7n œœ–VI
One
˙ 7 (or V 7 /vi–Vœ 7 /ii–Vb œœ7œ/V–V 7 —E
˙
n˙ œœ of dominantn ˙seventh
˙
seventh 7
–A 7 –D 7 –G 7
in lead sheet symbols). Turnarounds made solely chords
? bb œ ˙ the same guideœ tones). œœFor example,˙
b away because œ they have
can them employ tritone substitutions (substituting a dominant seventh chord
a tritone
becomes E 7 –E 2 7 –D 7 –D 2 7 .
œ ˙
E 7 –A 7 –D 7 –G 7
arrows show tritone substitutions

71 E m7 A m9 D m9 G 9(13) E7 A7 D7 G7 E7 E b7 D7 D b7
& œœœœ œœœ

œ
œœœ œœœ
œ œ # œœ # n œœ n # œœ n œœ # œœ b n œœ # œœ n œœ
?œ œ œ œ œ bœ œ bœ
œ œ œ œ
Figure 31.8.3: The III–VI–II–V Progression in Major and shown with Tritone
Substitutions
Because of tritone substitutions, the 2II 7 chord can be substituted for V 7 .

In C, D29(13) is often substituted for G7 495 ).
4
œœ œœ œœœ œœœ œ # œ n # œœ n œœ œ b œ # œœ n œœ
?
31.8. œSTANDARD
œ œ CHORDœPROGRESSIONS
œ œ œ œ
œ bœ œ bœ 427
tritone substitution
#9
D m9 G7 #5 C maj9 D m9 D b 9(13) C maj9
& c œœœœ b bn œœœœ n ˙˙˙˙ œœœ b bn œœœœ n ˙˙˙˙

74
œ
?c
identical voicings
œ œ ˙ œ bœ ˙
201
201
“Spread” voicings
“Spread” voicings “Close” voicings
“Close” voicings
Figure 31.8.4: The 2II
C 9(13)substituting forCV
7
9(13) in a TritoneC 9(13)
7
Substitution
˙˙˙ 13th ˙ 9th 7th

C 9(13)
& cc ˙˙˙ 13th ˙ 13th 3rd bb ˙˙˙˙˙ 9th

37 C 9(13) C 9(13) C 9(13) C 9(13)
bb ˙˙˙˙˙˙ 13th
37
&
9th
˙ 9th
13th 9th
13th
13th 9th 3rd 13th 7th
3rd
˙ 3rd
9th 3rd
bb ˙˙˙ 3rd
9th 7th
? c bb ˙˙˙˙ 3rd
7th (lowest)
(lowest) (lowest)
? ˙˙ ˙˙
(lowest)
c The
7th
˙ Root ˙ Root
7th 7th
3rd 7th Root Root
31.8.3 Blues Progression
Root Root Root
Root
Below are two choruses of a common jazz version of the blues progression.
˙ the second ˙˙ (“close” ˙˙ with the ˙˙˙ 7ththe
6 6 6 6
C 13sus C 13sus C 13sus C 13sus C 69 C 69 C 69 C 69
˙ b ˙ ˙ ˙
The first chorusC 13sus
uses the first category
C 13susof voicings (“spread” voicings) while
˙ ˙
39 C 13sus C 13sus C9 C9 C9 C9
& ˙˙˙ note). ˙ b ˙ ˙ ˙

bb ˙˙˙˙ sus ˙˙ sus ˙˙˙ 6th
39
&lowest
second chorus uses category
˙˙ ˙
voicings
˙˙˙˙ 3rd or as
˙ 6th
sus sus 6th
the
˙
˙ ˙ ˙
? bb ˙˙˙ sus 7th b ˙ 7th
6th
45 ˙ 6th
7th b ˙ 7th ˙˙ 6th ˙˙˙ 3rd
sus (lowest)
?
2 93rd
˙ ˙ ˙ ˙ ˙˙ for the
Notice that the voicings for the A 7 49
and E are identical (not

sus (13) (lowest)
˙ Root ˙ Root ˙ the ˙E (13)4 ˙isRoot ˙ Root ˙

sus 3rd 6th
counting the roots)Root because
29
a tritone
3rd 6th
Root substitution
Root
A7 495 . The same is true for the G7 495 Root
2
and the D 9 (13) . The Roman
4
sus (4th) substituting for 3rd 6th substituting for 7th
numerals below sus the
(4th) staves
substituting areforsimplified.
3rd 6th substituting for 7th
#9
C 7 ## 9
C 7 # 55
6
& cc
43 C 69 F 9(13) C 9(13) F 9(13) F 13sus F 9(13)
www www www bw ˙˙˙ ˙˙˙ www

43 C9 F 9(13) C 9(13) F 9(13) F 13sus F 9(13)
& 9th
bb b ww
bb www bb www bb ˙˙˙
5th
www w ˙ w
5th 9th
?c bb www bb ˙˙˙ bb www

9th 13th
?
9th 13th
c w w w
6th 3rd
˙˙
6th 3rd
w ˙ w
3rd 7th
3rd
Root 7th
Root Root
Root
C: I6 IV7 I7 I7alt. IV7 IV7
C: I969 IV7 I7 I7alt. IV7 IV7
1st phrase 2nd phrase
#9 #9
A 7 ## 9 G 7 ## 9 C 9(13) E b 9(13) D 9(13) D b 9(13)
A 7 # 55 G 7 # 55 C 9(13) E b 9(13) D 9(13) D b 9(13)
nn www ˙˙˙
49 C 9(13) D m9
ww www bw ˙˙ ˙˙˙ b˙
C 9(13) D m9
&
49
& w bb b ww ˙ bb b ˙˙
bb ww ## ww nn ww nn www bb ˙˙ bbb ˙˙˙ ˙˙ n˙
?
? ww ww ww ˙˙ b˙ ## ˙˙ nn bb n ˙˙˙
w ww
I7 VI7 ii7 V7alt. I7 ¯III7 II7 ¯II7
I7 VI7 ii7 V7alt. I7 ¯III7 II7 ¯II7
3rd phrase
3rd phrase
#9
C 7 ## 9
C 7 # 55
6
55 C 69 F 9(13) C 9(13) F 9(13) F 13sus F 9(13)
& wwwww 5th w w b w (E(E respelled ˙ ˙ w

55 C9 F 9(13) C 9(13) F 9(13) F 13sus F 9(13)
& bb wwwww bb wwwww bb bb bbb wwwww asas F¯) bb ˙˙˙˙˙ bb ˙˙˙˙˙ bb wwwww
respelled
5th 3rd
w 9th
F¯)
9th 3rd
? ww
6th
? ww ww ww
6th
ww ww
C: I6 IV77 I77 7alt.
I7alt. IV 7 IV7
C: I699 IV
IV I
I I
I IV7 IV7
?
1. Am69 # 2. C7 ¯59 #9 3. FmΔ9 4. E¯9sus

˜
A7 #5 G7 #5 C 9(13) E b 9(13) b
9
n ww n ˙˙
C 9(13) D m9 D 9(13) D 9(13)
b bn wwww # ˙˙˙˙ b n b ˙˙˙

61
&&www www ˙
# ww b ˙˙˙ # ˙˙
202
bw w n˙
? w 5. D69 (˜11) w ˙ 7. bG˙ ˙ b˙
w
Δ7(¯5)
w
6. B¯m9(¯5) 8. A¯m9
? I7 VI7 ii7 V7alt. I7 ¯III7 II7 ¯II7

48 3rd phrase
12. D¯7˜59
67
Notice that ˜mvoice
the leading is10. Fãdd9
very smooth for each 11.
partE13
with
sus the exception
? of &
9. C Δ7
the bass line. All voices move by step or by 3rd. ˜
&
1. Am69? Scales2.
31.9 C7 ¯59 3. FmΔ9 4. E¯9sus
˜
13. B 9(13) 14. G¯69 concern will be E¯7 ˜11
15.understanding 16. A¯Δ9(˜5)
˜9
&
In this section on scales, our primary how
scales relate to corresponding chords in order to allow one to improvise a jazz
solo. Similarly, understanding chord–scale relationships can allow one to write
chordal solos G9susa sax soli
1. (like B7(˜shout
2. or 5) 3. Emin
chorus
9(¯5) C˜m11 piece)
a jazz4.ensemble 5. D 7 ¯9
where
¯5
6 (˜11)
5. D9 non-chord 9(¯5) Δ7(
˜11)corresponding
¯ 5)
G D¯6 scale.9. E¯Δ9(˜5) 8. A¯m 9
Δ7(¯5)
Gm6.Δ9come
6. tones B¯m 7.from the
A¯Δ9( 7. 8.
9 10. F
?
8ˆ
4 œ œ
¯7
œ j ‰ ¯5j ‰ j4 ‰ j ¯3
ˆ ˆ ˆ ˆ ˆ 1ˆ
œ
31.9.1 The Blues Scale 5
The blues scale is V

‰ œ
4 to the minor 13pentatonic bscale
œ (1̂ –23̂œ 7–4̂9 –5̂ –27̂ ) œ
9. C˜m except with an10.
Δ7
identical
F˜ 25̂ /44̂ (1̂ –23̂ –4̂11.
add9
–25̂E–5̂sus
˜ œ 12. D¯ œ
added –27̂ ). ˜5
&
& 44 œ œ œ b œ œ œ œ
8ˆ ¯7ˆ 5ˆ ¯5ˆ 4ˆ ¯3ˆ 1ˆ
13. B9(13) 14. G¯9 6 7 11 15. E¯ ˜ 9 16. A¯Δ9(˜5)

˜
Figure 31.9.1: The Blues Scale (Descending)
1. G9sus & 2. B7(˜5) 3. Em9(¯5) 4. C˜m11 5. D7 ¯9

¯5
6. GmΔ9 A¯Δ9(˜11)
A well–known
7. 8. D¯69is “Sunshine
example of ˜Your
9. E¯Δ9( 5) Love” Δ7(¯Cream.
10. Fby 5)
8ˆ
j j j
¯7ˆ 5ˆ ˆ ˆ ˆ 1ˆ
4 œ œ œ
¯5 ¯3
œ
4
V4 ‰ œ ‰ bœ ‰ œ ‰ j œ
œ œ
& 44 œ œ œ b œ œ œYT:œf3y8jf01UY8
& Figure 31.9.2: Jack Bruce and Eric Clapton, “Sunshine of Your Love”
In the blues scale, the 25̂ and 23̂ are considered to be “blue notes” because
they are not chord tones (of a major triad or dominant 7th chord). Blue notes
&
31.9. SCALES 429
5. D69 (˜11) 6. B¯m9(¯5) 7. GΔ7(¯5) 8. A¯m9
?
are commonly used in jazz and popular music.
In terms of using the blues scale as a soloist, you will find that some players
use the blues scale over any and every chord, and that listeners’ ears often find
9. C˜mΔ7 10. Fãdd9 11. E13sus 12. D¯7˜59
this acceptable. ˜
&
13. B9(13) 14. G¯69 15. E¯7 ˜11 16. A¯Δ9(˜5)
9 ˜
B7(˜5)Bebop
1. G9sus31.9.22. The Em9(¯5)
3. Scale 4. C˜m11 5. D7 ¯9
¯5
6. GmΔ9 7. A¯Δ9(˜11) 8. D¯69 9. E¯Δ9(˜5) 10. FΔ7(¯5)
j j j
V 44 œ œ œ œ ‰ œ ‰ b œ ‰ œ ‰ œj œ
The bebop 8ˆ scale¯7(known
ˆ ¯5ˆ as the “bebop
more 5ˆspecifically 4ˆ ¯3ˆ
dominant” 1ˆscale in
œ
jazz theory texts) is identical to the Mixolydian scale except is has an added
↑7̂ . The added chromatic note (↑7̂ ) occurs in descending passages (from 8̂ –7̂
–27̂ ) as a chromatic passing tone. The bebop scale is most often used over the
dominant 7th chord. In the most rudimentary form of improvising, one can
use the bebop scale inˆ descending eighth notes beginning on the downbeat of
4 œ œ œ bœ
¯7ˆ 5ˆ on
8ˆ starting ¯5 the4ˆ root,
¯3ˆ 3rd,
1ˆ 5th, or 7th.
&4 œ œ œ
a measure,
œ œ œ œ bœ œ
& 44 œ œ b œ œ œ œ œ œ w
Root 3rd
œœ w
œœœœœ
5th
b œ7thœ œ œ œ
œ bœ œ w œ œ nœ bw
&
Figure 31.9.3: Descending C Bebop Scale starting on Root, then 3rd, then
5th, then 7th
31.9.3 Table of Scales
The scales below are represented by scale degrees. Synthetic scales like whole
tone, diminished, and diminished–whole tone have many acceptable enhar-
monic respellings.
CLASSICAL SCALES MODES AND HYBRID MODES JAZZ AND SYNTHETIC

Major (“Ionian”) Mixolydian Blues
1̂ –2̂ –3̂ –4̂ –5̂ –6̂ –7̂ 1̂ –2̂ –3̂ –4̂ –5̂ –6̂ –27̂ 1̂ –23̂ –4̂ –25̂ –5̂ –27̂
Natural Minor (“Aeolian”) Lydian Bebop Dominant
1̂ –2̂ –23̂ –4̂ –5̂ –26̂ –27̂ 1̂ –2̂ –3̂ –44̂ –5̂ –6̂ –7̂ 1̂ –2̂ –3̂ –4̂ –5̂ –6̂ –27̂ –7̂
Harmonic Minor Dorian Bebop Major
1̂ –2̂ –23̂ –4̂ –5̂ –26̂ –7̂ 1̂ –2̂ –23̂ –4̂ –5̂ –6̂ –27̂ 1̂ –2̂ –3̂ –4̂ –5̂ –45̂ –6̂ –7̂
Melodic Minor Phrygian Whole Tone
1̂ –2̂ –23̂ –4̂ –5̂ –6̂ –7̂ 1̂ –22̂ –23̂ –4̂ –5̂ –26̂ –27̂ 1̂ –2̂ –3̂ –44̂ –45̂ –27̂
Locrian Octatonic (Half–Whole)
1̂ –22̂ –23̂ –4̂ –25̂ –26̂ –27̂ (“Diminished” scale)
1̂ –22̂ –23̂ –3̂ –44̂ –5̂ –6̂ –27̂
Locrian 42 Octatonic (Whole–Half )
(6th mode Melodic Minor) (“Diminished” scale)
1̂ –2̂ –23̂ –4̂ –25̂ –26̂ –27̂ 1̂ –2̂ –23̂ –4̂ –44̂ –45̂ –6̂ –7̂
Lydian–Dominant Diminished–Whole Tone
(4th mode Melodic Minor) (also “Altered” scale or
1̂ –2̂ –3̂ –44̂ –5̂ –6̂ –27̂ 7th mode Melodic Minor)
1̂ –22̂ –23̂ –24̂ –25̂ –26̂ –27̂
Phyrgian–Dorian
(2nd mode Melodic Minor)
1̂ –22̂ –23̂ –4̂ –5̂ –6̂ –27̂
Lydian–Augmented
(3rd mode Melodic Minor)
1̂ –2̂ –3̂ –44̂ –45̂ –6̂ –7̂
Mixolydian–26̂
(5th mode Melodic Minor)
1̂ –2̂ –3̂ –4̂ –5̂ –26̂ –27̂
Table 31.9.4: Table of Scales
31.10 How to Determine Chord–Scale Relationships

To discover a chord–scale relationship for almost any chord, write all of the
notes of the chord (including upper extensions and altered notes), then fill
in the thirds with the most logical choices, avoiding augmented seconds and
consecutive half–steps.
In the example below, we determine the scale that best fits G∆7 (411) by
doing the following:
1. Identify the notes in the chord
2. Write all chord tones as a scale within the span of an octave
3. Fill in any gaps, avoiding augmented 2nds and consecutive half steps
4. Analyze the resulting scale

31.11. HARMONIZING THE BEBOP SCALE 431
49
Identify notes
in chord Write notes as scale Fill in gaps, avoiding aug. 2nds
G maj7 ( # 11)
& # # www
within an 8ve span and consective half steps
ww œ #œ œ
3rd ˜11 #7th
œ
œ # œ œ œ #œ œ
œ œ œ
5th
root
(gap) w w h
w w w h
(gap)
Figure 31.10.1: How to Determine a Scale for a Chord
&
The G Lydian scale is the most correct scale to play over G∆7 (411) .
Principle 31.10.2 Determining Chord–Scale Relationships. When
constructing the scale, avoid augmented seconds and consecutive half–steps
&
31.10.1 List of Chord–Scale Relationships
Below is a list of common chord–scale relationships. When there are two scales
listed for a single chord, it is because the chord has a minor third that can
&
be filled with half–step then whole–step or whole–step then half–step. This
knowledge of chord–scale relationships ultimately becomes second nature to an
improvising jazz musician.
CHORD CORRESPONDING SCALE(S)

C∆7 C major scale or C Lydian scale
C∆7 (411) C Lydian scale
C∆7 (45) C Lydian–Augmented scale
Cm7 C dorian scale or C natural minor
Cø 7 C locrian scale or C locrian 42
Cø 9 C locrian 42
C◦ 7 C Octatonic Whole–Half
Cm ∆7 C melodic minor ascending
Cm 69 C Dorian or C melodic minor ascending
C7 C Mixolydian
C7 (411) C Lydian–Dominant
C7 (45) C Whole Tone scale
C7 (25) C Whole Tone scale
C7 (29) C Octatonic (Half–Whole)
C7 (49) C Octatonic (Half–Whole)
C13 411 C Octatonic (Half–Whole)
4
9
C7 alt C Diminished–Whole Tone
Table 31.10.3: List of Chord–Scale Relationships
This list is not exhaustive. Follow the process above (“How to Determine
Chord–Scale Relationships”) for chords not listed in this list.
Additionally, it is often important to look at the relationship of a chord to
the overall key of a tune to determine the appropriate scale. For example, the
Fmin7 at the beginning of “All The Things You Are” by Jerome Kern is the
vi7 chord in A2 major, in which case it would be inappropriate to play an F
Dorian scale because the D6 would conflict with the D2 in the key signature.
One would play an F natural minor (or Aeolian) scale instead.
49
31.11 Harmonizing the Bebop Scale
Identify notes
in chord Write notes as scale Fill in gaps, avoiding aug. 2nds
# 11)
& # # www
In The Book, author Mark Levine provides a method for har-
œ #œ œ
GJazz
maj7 (Theory
#œ
ww œ #œ œ œ œ œ #œ œ w w h
monizing the bebop major scale5th(1̂ –2̂7th
–3̂ –4̂ –5̂ –4ˆ5 –6̂ –7̂ –8̂ ) with four
3rd ˜11
œ
root 49
voices.
Identify notes (gap)
Try singing through each part—soprano, alto,wtenor, wthenh bass.
in chord Write notes as scale
(gap) Fill inwgaps, avoiding aug. 2nds
#
& # # wwwC 6 B o7 rootC 6 3rdBõ117 5thœ C 6 #7th
œB o7 o
œ #œ œ
G maj7 11
( )
w
w œ œ # œ œ œœ b œœ # œ wœ ww w h
œ
& 44
C6 B 7 C6
œœœ b œœœœ (gap) œœ # œœœ n œœw w œœ w h ww

œœœ b œœœœ n (gap)
œ œœ œ œ
œ
o o o o
o o Harmonization
o of the Bebop
o Scale in Major
& 44
C6 B 7 C6 B 7 C6 B 7 C6 B 7 C6
bBœœœœ7 wwCwm6
Four–Part
œœ # œœœ n œœœ
Figure 31.11.1:
œ
b œœœœ b œn œœœœ bœ œœœ ww
C m6 B 7 C m6 B 7 C m6 B 7 C m6
& œ œœœœ œ œ œ
b œœœœ # œœœœ n œœœœ b œœœ b www
b œœœ b œœœœ n œœœ b œœœ œ œ
C m6 B 7
o C m6
o
B 7 C m6 B 7
o C m6
o
B 7 C m6
œ w
&
œœœ b œœœœ n b œœœœ b œœœœ b œœœ # œœœœ n œœœœ b œœœ b www
& bœ œ
Figure 31.11.2: Four–Part Harmonization of the Bebop Scale in Minor
&
Notice that all of the non–tonic chords are vii◦ 7 chords in various inversions.
One hears a similar approach to harmonizing a scale (though without the
fully–diminished seventh chords as passing chords) in the following example.
YT: tnLK5lMY97s
Figure 31.11.3: Count Basie and His Orchestra, “London Bridge is Falling
Down”
Jazz Theory: Day One

w bw
1. _____ 2. _____ 3. _____ 4. _____
31.12. PRACTICEw EXERCISES b w ww ww 433

& w
# www b b w w w b
b w ww w
w b b www
1. b w
Given the following lead–sheet symbols, write the chords. Remember
it is sometimes
5. _____ appropriate to enharmonically
6. _____ 7. _____ respell notes
8. _____like C ,
2
B , F , E and altered notes like 5 and 9.
4 2 4 4 4
1. G9sus 2. B7(˜5) 3. Em9(¯5) 4. C˜m11 5. D7 ¯9

¯5
&
Δ7(¯5)
7. A¯ ˜ 9. E¯ ˜
Δ9 Δ9( 11) 6 Δ9( 5)
6. Gm 8. D¯9 10. F
&
?
199
2. 3. 4. 5.
C 7( b 5) C 7(# 5) C 7( b 9) C 7(# 9) C 7( b13) or C7(˜5)
bw
_
& bw
C 7 +_ 9
b bb www ¯5 ¯9
b b wwwchords symbols.
b www jazz
Jazz Theory: Day Two +5 47
b b www chords busing bw
2
& b nthe
ww following w nw ww
w w w w
2. Label
# w
˜
respell w
5
? b b w ww˜5 to agree with ¯7 wwrespell ˜9 to agreew with ¯7 b bn#wwwwww˜9 # www∑

? b w∑ # www ∑ ww #wwww
preferred
b ww # ww
nw ww ww
6
1. _____ 2. _____ 3. _____ 4. _____ 5. _____
bn ww b # www w w
?& # ##wwww
ww w # www b ww b b n www b wwb # ww
# ww w bw bw w
? # ww w ww w
w w w
ww 9. _____ ww
& ww b b b wwww ww ˜ b w
bEm# www b b b www C
6. _____ 7. _____ 8. _____ 10. _____
w w F˜
11
11
D˜7 9 7 9
# ww
Δ9(13) o7
E9sus
n ww
¯5
˜5
& wwww
b ww w w
ww bw b www
&? w bw bw
9. _____ 10. _____ 11. _____ 12. _____
b www w
15
&
b # www # # www n b ww
&
? w #w b b www # www
w w
13. _____ 14. _____ 15. _____ 16. _____
&
Jazz Theory:
19 Day Three
&
?
&
203
434 #9
CHAPTER 31. INTRODUCTION TO JAZZ THEORY
A7 #5 E b 7(# 9) F # 9sus C #m 9
6
& ˙˙ the following

G 9(13)
Voiceclead b ˙ progressions.
˙ #˙ #w
76
3. Remember to spell notes enhar-
monically when necessary. In the first example, use “close” voicing,
#˙
keeping all the upper notes as close together as possible. In the sec-
c ˙˙ use Root–3rd–7th or Root–7th–3rd always
? example,
# ˙ lead sheet# wsymbol with the
ond for the lowest
three voices, thenb ˙realize the ˙rest of the
upper two parts (“spread” voicing). Use Root–3rd–6th for 6th chords
and Root–4th–7th for sus chords. You may need to omit the 5th to
maintain five parts throughout.
#9
Db 9 C7 #5
6
79 F 13sus B 13sus E maj9(13)
& c b b ˙˙˙ ˙ ˙ #˙ #w
b˙
? c b˙ ˙
˙ ˙
w 203
#9
A7 #5 E b 7(# 9) F # 9sus C #m 9
6
˙
G 9(13)
&c ˙ b˙ ˙ #˙ #w
76
82
&
# ˙˙
?c #w
? ˙ b˙ ˙ #˙
95
#9
Db 9
& C7 #5
6
79 F 13sus B 13sus E maj9(13)
&c b bb ˙˙˙˙ ˙ ˙ #˙ #w
?
?c b˙ ˙
˙ ˙
w
82
&
95
&
Jazz Theory: Day Four

50
50
4. Please name the following scales.
?
? œ ## œœ ## œœ ## œœ œ ## œœ # œ œ b œ
## œœ œœ œœ œœ œœ œ # œ n œ b œ œœ œœ # œ
#œ
1.
1. _________________________
_________________________ 2.
2. _________________________
_________________________
b œ b œ bb œœ œœ bb œœ œœ
& œœ œœ bb œœ bb œœ b œ b œ
& œœ œœ œœ ## œœ ## œœ
3.
3. _________________________
_________________________ 4.
4. _________________________
_________________________
œ œ bb œœ œœ bb œœ bb œœ
b œ
& bœ œb œ œ œ
b œ œ œ
œ b
b œ
œ bb œœ b œœ œœ
œ bœ œb
5.
5. _________________________
_________________________ 6.
6. _________________________
_________________________
50
&
50
&
?
? œ œ ## œœ ## œœ ## œœ œœ ## œœ # œ n œ b œ
## œœ œœ œœ œœ œ œ # œ n œ b œ œœ œœ # œ
?
?1.1. _________________________
_________________________ 2.
2. _________________________
_________________________
bœ œ
& œ œ bœ bœ bœ bœ œ œ œ #œ #œ
bœ œ
&3. _________________________
3. _________________________ 4.
4. _________________________
bœ œ bœ bœ
_________________________
& b œ b œ œ œ bœ bœ bœ œ
œ b œ b œ œ
5. &5.5. _________________________
Please _________________________ 6. _________________________
write the following scales. 6. _________________________
&
& 1. E Lydian-Dominant
1. E Lydian-Dominant 2.
2. B¯
B¯ Phrygian-Dorian
Phrygian-Dorian
&3.3. FF Diminished-Whole
Diminished-Whole Tone
Tone 4.
4. E¯
E¯ Octatonic
Octatonic (Whole-Half)
(Whole-Half)
&
&
&
Jazz Theory: Day Five
&
6. List the appropriate scale for the each chord by writing the chord
52
52 tones then filling in the gaps. Avoid writing consecutive half steps
52
52 and 7(˜5); Scale: ____________________________
augmented
1. E¯ seconds when constructing the scale.
1. E¯ ˜ ; Scale: ____________________________
7( 5)
& E¯7(˜˜5);; Scale:

7( 5)
&
1.
1. E¯ Scale: ____________________________
____________________________
&
˜9; Scale: ____________________________
2. B¯77¯5
?
2. B¯ ¯5 ˜9; Scale: ____________________________
?
2. B¯ 7
7 ˜˜99; Scale: ____________________________
?
2. B¯ ¯5 ¯5
; Scale: ____________________________
3. Fm7(¯5); Scale: ____________________________

3. Fm7(¯5); Scale: ____________________________
&
3. 7(¯5)
3. Fm
Fm7(¯5);; Scale:
Scale: ____________________________
&
____________________________
&
4. A¯Δ7( ˜5); Scale: ____________________________
?
4. A¯Δ7(˜5); Scale: ____________________________
? A¯Δ7(˜˜5);; Scale:
4. Δ7( 5)
4. A¯ Scale: ____________________________
?
____________________________
?
?
?
?
?
?
Click here to download the sixth homework assignment for this chapter.
Chapter 32
Impressionism and Extended

#9
Tonality E7 #5 B b 13sus F #mΔ9 C #m 9
6
204 88 C m9 B maj9(13)
& b ˙˙˙ #˙ n˙ ˙ #˙ ˙
b˙
? ˙ #˙
˙
32.1 Impressionism ˙ b˙ #˙
Impressionism is associated # with Claude Debussy and Maurice# Ravel in
B bmΔ9 A7 b9 7 b5 E b7 b 9
G 7 # 9 Tomlinson E b 13susin America,
A7 #5
13 13 9 13 13 9
q = 40 Ottorino
France, Respighi inDItaly, Charles Griffes and
Frederick œDelius in England. We will focus onœ just three œ (2) the˙ use of up-
91
in &
c œ of Debussy
bœ b œ Ravel: œ(1) the use of modes,
techniques found
bœ
the music and
per–extensions above the 7th in chord construction in tertian harmonies (9ths,
c œ as “planing.”
?known
11ths, and 13ths, which we saw in the chapter on jazz), and (3) parallelism,
also
bœ
1. Use of modes. Composers such as Debussy and Ravel sometimes wrote
in the church modes (Phrygian, Lydian, etc.—see Scales) as an alter-
native to the heavily chromatic music of Richard Wagner (listen to the
& c Œ # œœ œœ b œœ # ˙˙˙ ... œ und

œ Isolde).
œœ b œœ œœ œœ Ó
b œœœ ˙˙
93
influential Prelude to Act I of Wagner’s Tristan
b œ n œ b œ
# œ first movement of Debussy’s String Quartet in G minor, Op.
(a) The
œ b ˙
œœœ bthe ˙˙˙ ... mode.
b œœœ 5̂ scale b œœ Notice
b œœ #that
œ # œœœ
# œœœthe seventh ˙
? c Œ occurs
# œœ n on degreeœ is half–diminished
œ b ˙
10, begins in Phrygian chord that
œ œ œ in ˙
Phrygian. Ó(The
penultimate chord in this example is not in Phrygian mode.)
ø
ø
D 7/A b Bb
ø D 7/F
D 7/A b 3
ø
G m D 7/A b G m B b A b 7( b 5)
b j j j
Gm Gm
&b c œ œœ œœ œœ b œœ œ œ œœ œœ œ ‰
97
œœ œ œœ
œ œ œœ œ
j j
? bb c œ œœ œœ œœ œ
j œ œœ #œ œ ‰
œ b œœ œ
œœ b œœ œ œ w
g: i vø43 III vø43 vø65 i vø43 i III ¯II7(¯5) i
b
&b œœ
100
J YT: cEfhiCqlawI
? bb
Figure 32.1.1: Debussy, String Quartet in G minor, Op. 10, I.
œ œ œ
437
&b c œ œœ œœ œœ b œœ œ œ œœ œœ œœ œœ œœ
œœ œ ‰
œ œ
j
j AND EXTENDED j ‰
? b b cCHAPTER
œœ b œœ œ
œœ œ œœ œ œ œ
œœ b œœ œ œ œ # œ œ
w
438
œ
32. IMPRESSIONISM TONALITY
(b)g:The
i
second
vø43
movement (“Danse profane”)
III vø43 vø65 i vø43
of iDebussy’s
III
Dansesi begins
¯II7(¯5)
in Lydian mode.
100
# # 3Strings - . . - .j . . -
& 4 Œ ˙˙ Œ #œ
œœ œœ
œ
Œ ˙
˙
‰
œ œœ # œœœ œœœ
π ˙ π ˙ # œœ œ
? # # 43 ˙ . ˙. ˙.
Harp
˙.
-̇ . -̇ . -̇ . -̇ .
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Figure 32.1.2: Debussy, Danses, II. Danse profane
(c) The first movement of Ravel’s Piano Trio Ravel begins in the Dorian
mode. Notice that the penultimate chord is outside of the mode. 205
. œœ- . -
8 œœœ. œœœ ... œœ œœœ ... # œœœ œœœ œœœ. œœœ .. œœ œœœ .. œœ œj
104
&8 #œ J œ . #œ . œ n œœ # œœœ
π œ. œ. œ œ. œ. œ
?8 Œ œ œ
8 œ
°
205
3
106
& 4 œ. œ
8 . œ œ . # œ
œ œ
œ
. YT:
-
œ
œ . œœ . œ œœ . œ . j -
œ
yiaGAWuY2PE
œ œ . œ . œ œ œ .. Trio,
# œœ œI... œœ n œœœ # œœœ
104
& 8 œ œ . # œœ Figure
œ . œ J32.1.3: œ Ravel,œ Piano
? 43π
œ. end ofœ.the firstœmovement of Ravel’s
œ. Pianoœ. Trio, Ravel œ trans-
? 8(d)Œ At the
œ œ
8 forms the theme by placing it inœ the Lydian mode. In this example,
° two chords are outside of the Lydian mode.
the final
.j -
120
&. . . -
œ
œœ œœ .. œœ œœ .. # œœœ œœ œœœ œœ œœ .. œœ œœ .. œœ œj b œœ
106
& œ œ. #œ œ. J. - œ œ . # œ œ . œ n œœ n œ
? J -
π lointain . .
?w ∑
128
&
& 43
108
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? Figure 32.1.4: Ravel, Piano Trio, I.
? 43
128
&
& 8 œœ œœ .. # œœ œœ .. œ œJ œ œœ œœ .. # œœ œœ .. œœ n œœ # œœ
œ œ
π œ œ . . œ œ. œ. œ
?8 Œ œ œ
32.1. IMPRESSIONISM 439
8 œ
° extensions in chords. Debussy
2. Use of upper and Ravel used chords con-
. j extensions.
taining ninths, elevenths, and thirteenths, sometimes with chromatic al- 205
. - .
. . - -
œœœ.œœœ ... œœœ#.. œœœ œœœœœ... œœœ#..œœœ œœœ# œœœ œœœœœ œœœ- œœœ œœœ ...œœœ. # œœœœœœ .. œœœ ... œœ œœœœœœn..œœj n b œœœœœ œ. j œ
terations to those upper
œœ8
104106
&
& œ8 . . J. J- “Clair de lune” from .his #Suite œ .bergamasque,
(a) In bar 15# œof Debussy’s
œ œ n œ # œœ
. J - œ
π lointain .
? w πmelody.œ. .œ . .
2
Debussy uses an E m9 chord with the 9th of the chord in the
œ œ∑ œ œ
?8 Œ œ œ
8
œ
]°œ- œ œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- -
b b b 9 ‰ œœJ œœ œœ œœ. œœ œœ œœ œœ œœœ œœœ œœœ œœ œœœ ...
[ E¯m (add9)
b
& . b 8 j - .
108
œ . -
œœ œœπ .. œœ œœ .. # œœœ œœ œœœ œœ œœ .. œ œœ .. œœ j œ
106
& œ œ. #œjœ. œ œ . # œœ œ . œ n œœœ n b œœ

2 2
? b b 9 ‰ œ œ œ œ. œ - œ œ œ œ œ œ œ J
b b b 8 ˙ & œ-œ œœ œœ œœ œœ œœ œœ .œœ œœ œœ œœ œœ œœ .. J. -
2 2
π lointain. - - - - - - - - - - œ- .
?w ˙. ∑
b
& b bbb
110
œœ- œœ YT:œœ- œœ-Yecu-mJ-EZo

œœ- œœ- œœ- œœ- œœ- œœ- œœ- œœ- œ- .
œClairœœde lune
œœ œ œ .
[ E¯m(add9) ]
b b b 9 32.1.5: œ Debussy,
œ œ Suite œ œbergamasque,
œ œ œIII. œ
b ‰ J œ.
108
?
& b bbb b 8
b Figure
π2 2
? b(b) 9 j
b b b Bar8 8‰ of&Debussy’s
œœœ œœœ 2“La
œœœ7 Puerta
œœœ œœœ del œœ Vino”
œœ from
œœ œœBookœœ II œœof hisœœPre- œ .
2 2
bludes,˙ contains
. - a D - - - 4 - - 2 œ- theœ- notes
in the left œhandœ with œ- inœ- the œ-right œœ- ..
hand ˙alternating
. between the 9 and the 9.
D¯7(˜9)
b bbb 2 ‰ nœ œ œ j Œ
3
nœ. œ œ œ œ
110
& b 4 œ nœ œ œ nœ
3 3
- - - - nœ œ
˜9
n ˙ n ˙˙ ˙˙ n ˙˙
¯9
? b b b 42 ˙ 3rd ¯7
bb 5th œ œ
Root
œ . œ œ. œ œ œ œ. œ œ œ œ. œ œ œ
b bbb
114
&
Figureb 32.1.6:
YT: PuLpFaE9ZWo
Debussy, Préludes, Book II, No. 3, La Puerto del Vino
? bb b
b
(c) bIn bar 70 of the same piece, Debussy also includes the 411 in the
right hand, in addition to the 49 and 29.
? b b b 42 n ˙˙ 3rd n ˙˙ ˙˙ n ˙˙
¯9
¯7
bb œ . 5th œ32.œ IMPRESSIONISM
œ œ œœ œ œ œ œ œ œ œœ œ
440 Root
CHAPTER
. . .
AND EXTENDED TONALITY
D¯7 ˜11
˜9
bbbb
3
b ‰ n n œœ œœ œœ n œœ ‰ n n œœ œœ œœ œ n n œœ .. œœ n œœ œœ œœ
114
&
3 3
˜11
- - - - nœ
˜9
? b b b n ˙˙ 3rd
¯7 n ˙˙ ˙˙
bb 5th œ œ œ œ œ œ
Root
œ . œ œ. œ œ. œ
YT: PuLpFaE9ZWo
Figure 32.1.7: Debussy, Préludes, Book II, No. 3, La Puerto del Vino
3. Use of parallelism (also known as “planing”). In contrast to the prohibi-

tion against parallel fifths and octaves in traditional voice leading, both
Debussy and Ravel would take a chord voicing and move all voices in
parallel motion.
(a) In Pavane pour une infante défunte, Ravel writes dominant 9th
chords in parallel motion in bar 27.
E9 D9 C9 D9 E9
206 un peu plus lent
# > > > > > U

117
& c j ‰ œ
œœ œœ n œœ
# œœœœ œœ
œ
œ
#œ n œœœ œœ b œœ
œ œ œ # œ n n œœ # # œœ œœœ
œ
f
œœ ‰ U
?# c œ œœ œœ œœ
œ J œœ œœ œœ œœ œœ
> > > > >
parallel voicings
119
#
&
YT: GEUpQ5pCSOQ
?#
Figure 32.1.8: Ravel, Pavane pour une infante défunte
(b) At 5 bars after rehearsal number 5 in Prelude to the Afternoon of

a Faun, Debussy writes chromatically ascending dominant seventh
chords.
œœ œœ ˙˙ .. ww œCm œ ˙ . w
? # 44 Em J
# 4 œ œ b œ n œ œ n œ b œ œ441
œ
Œ œœœ œ œ œ œœœ Œ3
44 Trumpet
& PANDIATONICISM
4
44 Horn
32.2.
# 4Choirœ œ ˙ . w œœ b œœ ˙˙ .. ww
& 43 4b œ œ œœ. ˙ .œ. œ wœ. œ.
&
Horn
b œ 3 Jœ œ
44 48
. . œ œ œ
œœ œœ ˙˙ .. .. 7
œœ œœ ˙˙ A¯ wwA7
Kor - ah, Syahd - ho,
G7 A¯7 wwA7 G7
? # 4 œ-
Strings
4 œ- b œ- œ J œ bœ
& 43 œ œ bœ œ3 œ bœ
44
48
œœ- -
b œœ bn œœ- œœ b œœ n b œœ
? 3
Horn
& 4 bœ œ. b œ. œ. n œœ. œ. œ b œœ œ n œœ œ
48
bœœ
48
.
G7 A¯7 A7 voicings G7 A¯7 A7
b œ-
parallel
Strings
œ- œ- œ œ bœ
& 43∑ ∑œ ∑ ∑ ∑œ ∑ ∑ bYT: œ œ œ bœ
48
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
50
& Figure 32.1.9: Debussy,

9_7loz-HWUM
- - b œ- Prelude to the Afternoon

? 3 œœ œ œœ œ n b œœ
of a Faun
bœ nœ bœ
4 ∑ bafter
∑œ ∑ rehearsal
∑ n∑œ ∑number ∑ b œpiece, ∑ n œ∑ ∑moves
& ∑(c)∑œAt∑4 bars ∑ ∑2 inœ∑ the∑ same
48
∑ ∑ Debussy ∑
50
seventh chords in parallel motion. Notice that the chords are not
?∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
50 all of the same quality.
parallel voicings
# # # # Flute œ œ œ œ œ. œ œ œ œ œ. œ nœ
50
& 9 n
8 œ œ œ nœ œœ
3 3
3 3
F˜ø7 Bm7 Am7 F˜ø7 Bm7 Am7 F˜ø7
## j
Strings
& # # 98 n œœ # œœ œœœ n œœ n n œœ œœ œœ œœ œœ
50
nœ œ œ œ œ œ nœ
œ ..
? # # # # 98 n œ œ œ œ œ
50
œ #œ œ œ œ
J
parallel voicings
YT: 9_7loz-HWUM
Figure 32.1.10: Debussy, Prelude to the Afternoon of a Faun

442 CHAPTER 32. IMPRESSIONISM AND EXTENDED TONALITY
32.2 Pandiatonicism
Pandiatonicism refers to the use of all diatonic notes without the need for
scale degrees or harmonies to progress or function tonally (V doesn’t need to
progress to I, 7̂ doesn’t need to resolve to 8̂ , etc.). One often hears it as
a wash of notes from the major scale, or as chords made of non–traditional
combinations of notes from a major scale, often with at least one interval of a
2nd in a chord voicing.
In the first example, notice how Stravinsky creates a wash of sound from
the notes of the major scale.
E9 D9 C9 D9 E9
# c > > > > > U

117
& j ‰ œ
œœ œœ The
YouTube: https://www.youtube.com/watch?v=XkM4bKjggKo
# œœœœ Stravinsky,
œœ
œ # œ n œœœ
œ Petrushka, œœFourth
œ b œœ Tableau:
œ # œ n n n œœœ # #Shrovetide
œ œœ œœœ
œ Fair
œ
Figure 32.2.1:
f
(Toward Evening)
œœ ‰ U
?# c œ œ œ œ
œ J œ œ œ œ œ œ œ œ
œ
> Copland œ œ œ > pandiatonic œ chord
In the second example,
> uses non–traditional
shapes in non–functional harmonic progression. > >
parallel voicings
### œ œ œ œ
œ œ œ œ œ
119
& œœ œœ œœ œ œ
œ œœ
œ œœ
? ### œœ œ
120
### c
& images/video-442.jpg
? ### c
YouTube: https://www.youtube.com/watch?v=WVahuS9hk_s
Figure 32.2.2: Copland, Appalachian Spring
The third example is similar to the first, with Copland creating a wash
of sound from the notes of the major scale, with no regard to the dissonant
intervals occurring in counterpoint.
32.3. QUARTAL, QUINTAL, AND SECUNDAL HARMONY 443
32.3 Quartal, Quintal, and Secundal Harmony

Quartal harmony refers to chords stacked entirely (or mostly) in fourths.
Quintal harmony refers to chords stacked entirely (or mostly) in fifths. Se-
cundal harmony refers to chords stacked entirely (or mostly) in seconds.
Contrast these concepts with the tertian (stacked in thirds) harmony we’ve
encountered in the majority of this text. Alternative methods of stacking
chords became more common after 1900 as composers sought ways to innovate
and break with the past.
The next three examples demonstrate quartal harmony.
YouTube: https://www.youtube.com/watch?v=m_hMVzPT9f4
Figure 32.3.1: Schoenberg, Chamber Symphony No. 1, Op. 9
YT: D5-bD372v5s
Figure 32.3.2: John Parker, CHiPs Theme

YT: g0GxiL96i78
Figure 32.3.3: Merv Griffin and Julann Wright, Jeopardy! Theme
The following is an extended example of quintal harmony.
YouTube: https://www.youtube.com/watch?v=IfOJCKN148M
Figure 32.3.4: Bórtok, Piano Concerto No. 2, II.
32.4 Polychords
A polychord typically consists of two triads sounding simultaneously. A poly-

chord could also consist of two seventh chords, or a seventh chord and triad.
Additionally, a polychord could conceivably consist of more than two triads or
seventh chords, since the prefix “poly” means “many.”
Perhaps the most famous polychord is the “Rite of Spring chord,” an E2 7
chord sounding over an F2 major chord, which occurs during the “Dance of the
Adolescents.”
? ###
32.4. POLYCHORDS 445
E¯7
120 F¯
& b b œœ
> >b œ
E9 D9 C9 D9 E9
œœ n œœ œ œœ
# > > > U

117
& c œ œœ
j ‰
œœ œœ n œœ
# œœœ œ #œ œ œ b œœœ œ # œ n n œœ # # œœ œœœ
œ
? f b b œœ
?# c œ
œ
œœ ‰
J œœ b œ
œœ b œ œœ œœ œœ œœ œœ
U
œœ
> > > > >
121 parallel voicings
& œœ
œ
### œ œ œ œ œ œ œ
119
& œœ œœ œ
œ œ
œ œœ
œ œœ
? ### œœ
?
YouTube: https://www.youtube.com/watch?v=BKoO_3-I1dw œ
Figure 32.4.1: Stravinsky, Rite of Spring, “Dance of the Adolescents”
E¯7
120 F¯
& b b œœ
b œœ
? b b œœ
b b œœ
Polychords are notated using a horizontal line between the chords instead
of a slash. (The slash was used for slash chords.)
A¯ (horizontal line means
b b œœœ b b œœœ
121 A A¯/A (slash means chord
chord over chord)
&
over bass note)
# œœœ nœ
?
nœ
Also note that it is not necessary to specify the inversion of each of the
chords in the polychord.
In th example below, Copland voices an A major chord below an E major

chord.
53
E
A
### œ œœ
E major triad
œ
A major triad
& œ œ œ œœœ
œ œ
##
& #
In the example below, features chromatically ascending dominant seventh

chords in the left hand against a repeating three–chord cycle of G–F–C in the
right hand.
YouTube: https://www.youtube.com/watch?v=XkM4bKjggKo
Figure 32.4.3: Stravinsky, Petrushka, Fourth Tableau: The Shrovetide Fair

(Toward Evening)
Day One
c
C F C F C G 7/D C/E D m/F G7 C G 7/B C
œœœ œœ œœœ ... œœ œœœ œœœœ œœœœœ

& c œœœ .. œœœ & œœœ œœœœ œœœœ œœ œœœ œœœ œœœ
C F C F C G 7/D C/E D m/F G7 C G 7/B C
œœ œ œ œœ œœœ œœ
123
123
. œ œ œœ œ œ œ œœ œ œ
c œ . the melody?œ œchord œ

œ symbols for “London
? cof œmodes.
Use
. œ œGiven œ œœ œœ and œ œ œ œœ œ œ œ
œ
1.
Bridge” in Phrygianœmode, analyze the chords
œ as lead–sheet symbols
(“LSS”) and as Roman numerals (“RN”).
LSS: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
b
&bb c œ . œœ œ œ
LSS: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
b bb c œ œ œœ œœ œœ b œœ œœ b œœœ œ œœ œœ œœœ
125
& œœ .. œœ œœ œœ œ .. œœ œœ œ œœ œœ œ b œœ œœ b œœœ œœ œ œœ œ œ
125
œ. œ œ œ œ œ œ œ œ œ œ
? b c œ. œ œ œ bœ œ œ œ œ
? b c œ. œ bœ b œ bœ œœ œœ œ œ œ
bb œ œ œ
RN:
___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
RN: ___
___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
Cm Fm Cm Fm Cm Gø7/D¯ Cm D¯/F Gø7 Cm Gø7/B¯ Cm
2. Use of parallelism. Harmonize the opening ø4of “London Bridge”ø7so each ø6
i iv i iv i v 3 i6 N6 v i v5 i
note of the melody note is the 9th of a dominant ø7ninth chord.
b
ø7 ø7
&bb
127 Cm Fm Cm Fm Cm G /D¯ Cm D¯/F G Cm G /B¯ Cm
9 ø4
i LSS:
iv i Fiv ___
i v___ i6___ ___ N6___ vø7
___ i vø65 i
& c b œœ
3
œ œ œ nœ œ œ
127
? bb
b ? c œœœ
LSS: ___ ___ ___ ___ ___ ___ ___ ___ ___
## œ œ œ œ ˙ œ˙ œ œ˙ œ
129 208
& # c œ˙˙ œ ˙˙ 128
˙˙ ˙˙ ˙ ˙ œœ œœœ ˙˙
œœ ˙
&
? ### c ˙ œ œ ˙
˙ ? ˙ ˙ ˙ ˙
RN: ___ ___ ___ ___ ___ ___ ___ ___ ___
LSS: F9 ___ ___

œ
___
œ
___
œ ___
œ
___
& c b œœ œ œ
133
? c œœœ
Day Two
3. Quartal,
LSS: Quintal,
___ and ___Secundal
___Harmony.
___ After
___ analyzing
___ the
___given
___ ___
&c
135
chord as a lead-sheet symbol, revoice it in four ways:
(a) as a six–note tertian chord stacked only in thirds
?c
(b) as a six–note quartal chord stacked only in perfect 4ths
(c) as a six–note quintal chord stacked only in perfect 5ths
(d)
RN:as a six–note
___ secundal
___ chord
___ stacked
___ only
___in 2nds
___ ___ ___ ___
LSS: ____ (1) in 3rds (2) in 4ths (3) in 5ths (4) in 2nds
w
139
& ww
ww
? w
209
LSS: ____ (1) in 3rds (2) in 4ths (3) in 5ths (4) in 2nds
b b www 32. IMPRESSIONISM AND EXTENDED TONALITY

149
448
& w
CHAPTER
bw
Polychords. Harmonize “London Bridge” using the specified poly-
? b wRemember that the chords can be in any inversion, but should
4.
should bbe
w playable (i.e., without too big of a stretch for the hands of
chords.
the pianist).
D¯
__ E¯+
___ B¯
__ ___
Cm __
D C¯
__ ___
Dm
C¯ D¯ E¯ A B¯ F Gm
154
b œœ œ œ bœ œ bœ ˙
& c b b b b œœœœ
?c
__
D ¯ E ¯+
___ __¯
B ___
Cm __
D C¯
__ ___
Dm
b œœœœ bthe œ
b n œœœœhomework
œœ first b œœ assignment ˙˙
b œœ this chapter.
œœ b bfor
156
Click here c b ˙˙˙ chap-

& b œ n
b œœ b b œœthe second œ # n œ œ n œœ n
b œœ n #homework
n œœœ
to download
Click here to b download b œœ n œœ forb this
assignment ˙
ter.
?c (lower chords can be any inversion)
158
&
?
Chapter 33
Set Theory
33.1 Set Theory

Set theory is the analytical technique we will use to analyze expressionist mu-
sic. The primary composers associated with expressionism are Arnold Schoen-
berg (1874–1951), Anton Webern (1883–1945), and Alban Berg (1885–1935).
In this text, we will associate atonal music—music that avoids traditional
harmonies and scales—with expressionism. Instead of scales and chords, inter-
vals are the building blocks of Expressionist music. Although composers began
writing atonal music in 1908, there was no widely–accepted systematic ana-
lytical approach that could show relationships between different pieces until
Allen Forte published his seminal The Structure of Atonal Music in 1973, in
which Forte applied set theory mathematics to music. However, our approach
to normal form and prime form will follow the slightly–modified approach set
out by John Rahn in his Basic Atonal Theory (1980), which is the approach
followed by Joseph Straus in his well–known and widely–used Introduction to
Post–Tonal Theory.1
33.1.1 Atonal Music

Listen to the following example by Anton Webern.
YouTube: https://www.youtube.com/watch?v=ELAKF8ZxDmg
Figure 33.1.1: Webern, 5 movements for string quartet, No. 3. Sehr bewegt
1 Of the 208 sets that exist, only 6 are different between the Forte and Rahn methods for
prime form. See https://www.mta.ca/pc-set/pc-setn ew/pages/pc − table/packed.html.
449
450 CHAPTER 33. SET THEORY
Gone are the triadic structures we have studied throughout this text. In
this music, intervals are paramount. Let us examine the intervals we find.
162
& n b œœ
n bn œœœ
210
nœ
m3
m3 m6
+5
? #œ œ
Look at the intervallic structure of the first two chords,2 not including
the C4 in the cello part. We see the interval of an augmented 5th below
the interval of a minor 3rd in the first chord, and the interval of a minor
sixth
163below the interval of a minor 3rd in the second chord. Notice that the
&
names we use for intervals carry tonal implications. An augmented 5th would
function differently than a minor 6th, but in atonal music, these intervals have
the same sound, are separated by the same number of half steps, and have no
tonal implications (they don’t have to resolve any particular way). Therefore,
analysts like Allen Forte used integers to represent pitches and intervals to
?
remove the tonal implications of staff notation.
33.1.2 Integer Notation for Pitches
One notable trait of set theory is that we will represent pitches with integers,
as seen in the table below.
Note name: C C4/D2 D D4/E2 E F F4/G2 G G4/A2 A A4/B2 B
Integer: 0 1 2 3 4 5 6 7 8 9 10 11
It may be helpful to remember that the C major triad (C, E, and G) consists
of integers 0, 4, and 7.
Integer notation of pitches means we assume enharmonic equivalence of
notes. For example, D, C5, and E3 are all represented as pitch integer 2. We
also assume octave equivalence, which itself presumes the notion of pitch
class. When we say Beethoven’s first symphony is in C, we refer not to any
specific C (C1 , C2 , C3 , etc.), but to the concept of the pitch class C, which
includes any and all Cs. Therefore, you would label the note C as pitch class
0, no matter the register in which it occurs.
33.1.3 Integer Notation for Intervals
We will also measure intervals using integers, with each interval represented by
the number of semitones (half steps) it contains. The following table contains
the number of semitones in each interval.
2 Some authors call atonal chords “sonorities” to differentiate them from chords in the
traditional triadic sense; we will continue to use “chord” in this text.

33.2. NORMAL FORM 451
Interval Number of Semitones Interval Number of Semitones

m2 1 P5 7
M2 2 m6 8
m3 3 M6 9
162 M3 4 m7 10
& n b œœ
P4 5 M7 11
n œ
210
n b œœ Interval Integers n œ
TT 6 P8 12
m3
Table 33.1.2: m3 m6
+5
162 ? #œ œ
n b œœthe term
33.1.4 Pitch–Class Sets
210
& n œ
for pitches and for intervals. n œ n œ
In atonal music we will analyze sets of pitch classes, hence m3 “pitch–class
b œ +5
set analysis.” Let us return to the example by Webern, this time m6 with integers
m3
? # œ œœ 3 semitones
163
10 n b œ
pitch-class numbers
& 2 nœ
11 n œ 3 semitones 11 n œ
bœ
7
8 semitones
3 8 semitones
?
1 # œ pitch-class numbers œ
163
& 10 n b œ
œ 33,semitones
2 n nofœ
œ 11 nbetween
œ
3 b œ 8 semitones
7
The first chord consists E 2 , B, and D,
3 semitones or pitch integers 11, and 2. If
8 semitones
11 distance,
we examine the intervallic we find 8 semitones pitch integers
? 12 system,11,meaning
3 and 11, and 3 semitones between 11 and 2. Note that we are working in
4, 5, 6, 7, 8, 9, 10,# œ 0, 1, 2, 3, etc.). We are used toœmodulo 12 thinking

164
a modulo we restart our numbering after 11 (0, 1, 2, 3,
&
since
1
we all deal with clocks. If a meeting ran from 11am to 2pm, it lasted 3
hours. Therefore, an interval from pitch integer 11 to pitch integer 2 spans 3
semitones. The second chord has the same intervallic construction.
?
Now, let’s look at the two chords in the second half of the third measure.
nœ b œœ
0 n œ
164
& 8 #œ
9
nœ
9 semitones 3 3 semitones
4 semitones 0
4 8 semitones
? #œ œ
We see right away that the second of these chords has the same construction
as the two chords we examined the in earlier examples (a minor 6th below a
minor 3rd). However, the first chord in this example (G4, C, A, or 8, 0, 9) ap-
165 to be different, with a diminished 4th from G4 to C (an interval spanning
pears
&
4 semitones, enharmonically equivalent to a major 3rd) below the interval of a
major 6th from C to A (spanning 9 semitones). To see the relationship of this
chord to the others, we need to learn about normal form and prime form.
?
53
E
A
# # # 33.2A major œ œœ
E major triad
Normal Form œ
triad
& œ œ œœ
œNormal œform represents the notes of a pitch–class set (as they œœoccur in the 53
music) in their most compact form. E
A
### œ œœ
E major triad
œ # œœ # œ set œfrom a piece

ToAdetermine
major triad normal form, follow these steps:
œ œ E œ
53
& œ œ œ œ œ # œ pitches.inœœœ œascending

œ œ
œ& # œAnumeric
œ order (like a scale). Eliminate œ œany #duplicate
1. Put the notes of a pitch–class of music
A
### œ œœ
E major triad
œ
major triad
54
& œ œ œ œœœ
œ # œ n >
œ
# œ. œ 11 œ
11 7 2 3 2
n œ œ œ œ
#b œœ b œœ bœœ b œœ œ œ
Ascending numeric order:
? œ
& # œ &# œœ68 œ # œ n œn œ n œ bnœ n œ # œ œ
œ œ
2 3 7
#œ œ œ œ bœ b œ
œ # œ # œ
& # œ œ 11 œf œ œ 2 œ œ # œ #œ œ œ œ œ
? 2. Examine n œ 7 3 nœœ. n œ n œ
# œ œ # œ b œnpossible
œ b œ b œ œ b œuntilœ you
ofb œthe bnotes
& # œ & the most œ
n œ compact form—thatœis, the one that spans the smallest
every ascending “scale” ordering
find
? # œ n œ order:n2œ n œ n œ bœ bœ bœ œ
interval from lowest to highest note.
# œ n11œ œ numeric
# œ Ascending œ . œ œ b œ b œ
2 3 7 7 b œ11
œ bœ œ
3
& nœ œ 2 œ œ œ œ b œ
3 7 11 2 7 11 2 3 11 2 3 7
& œ11b œ œ œ œ œ
n œ 7 3 œ .b œ
bœ
& (92 semitones)
Ascending n3 numeric
M6 œ 7 11order:(11 M7 m6 m6
3 semitones)
œ (there œ forb œmost œcompact
7(8 semitones)
œ
œ b œversion)
7 11 2 11 2 3 11(8 semitones)
2 3 7
& œ œ œ œ œ isœ a tie

œ b œ numeric order:b œ
Ascending
m64 b œ span from m6b œ œ

œ œ œ
2 event3 7that 11two orderings
3 7 11 have 2 the7 same 11 o interval
2 3 11 2 3 lowest 7
note, œchoose(11the œthat has œ(8thesemitones)
œsmaller interval œ(8 semitones)
3. In the M6P5
& (9 semitones) œ œset
M7
first œandb œpenultimate

to highest (7 semitones)
œb œ 1b œ
(4
œ
semitones)
b œ œ
between the
œ œ is a tie for most compact version)
semitones)
&œ notes.
M6 to penultimate noteM7
(there
Measure first to break the tie: m6 m6
(9
7 semitones)
11 2(11 semitones)
3 11(8 semitones)
o 2 3 (8 semitones)
7
P5 4
(7 semitones)
œ bœ
(there
most(4iscompact
œ
a tie forismost
semitones) compact
Normal Form
bœ
version)
œ
&œ œ
Measure first to penultimate note to break the tie:
o4
œ
P5
& 7 (7 semitones)
œ bœ 11 (4 semitones)
b 3œ
œ is Normal
7œ
œ œmost compact
11 2 3 2
&œ Form
7 event 11
4. In the 2
of an absolute 3 choose the
tie, 11 set that
2 begins 3 on the7 smaller
&
&
number. We will use a different set of pitches to demonstrate a complete
most compact is Normal Form
tie. The normal form for the notes below is [2, 3, 8, 9].
bœ bœ
P5
œ bœ
bœ nœ œ œ œ
P5 tt
& œ bœ bœ nœ bœ bœ nœ
tt m2
&
m2
2 3 8 9 3 8 9 2 8 9 2 3 9 2 3 8
In the event of an absolute tie, choose the set beginning on the smaller number.
1 TheForte method for determining prime form would have measured from first to second
note to break the tie instead of first to penultimate note, which is method used Rahn’s Basic
Atonal Theory.
33.3. PRIME FORM 453
5. Normal form is written in square brackets with commas. The normal

form found in step 3 above was [11, 2, 3, 7].
33.3 Prime Form

Whereas normal form deals with the exact pitches as they occur in the music,
prime form is usually a transposition and possibly an inversion of the normal
form to its most essential form, much in the way an E2 major triad in second
inversion belongs to the category “major triad,” or a G 7 /F belongs to the more
>
general idea “dominant 7 seventh 3 chord.” Perhaps because of the primacy of C
nœ.
11 2 2
n œ inAscending
in music theory—many ideas are demonstrated numeric to
their relation order:
the C major
scale—all 6 œ bœ > Ascending numeric order: œ
n œ
2 3 7 11
& 8 n œ . œ
prime
11 forms7 are 2transposed
3 2 to and start on C (pitch integer 0).
Followingn is
œ the process for determining primeœ2 form.b 3œ
68 œ bœ œ
7 11
1. &
Transpose n œ œ theb œnormalœform example
f the normal form—[11, 2, 3, 7] from
f
in the previous section—so it starts on C (pitch integer 0): 0, 3, 4, 8
11
œ
2
b œ
3
œ
7
œ
0
b œ
3
n œ
4
# 8œ
& 11œ œ # 8œ
œ b œ œ b œ n œ
2 3 7 0 3 4
&œ Normal form transposed to start on 0
2. Invert the transposedNormal form transposed

(what to start up
on 0now goes down).
&
54 normal form went
n >œ .
11 7 2 3 2
nœ
Ascending numeric order:
68 b œ n œ n œ œ b œ# œ
m2↑ M3↑
œ
m3↑ 2 9 3 8 7 411
œ& œ œ œ bœ #œ œ
0
& œ
0 f3 4 8 m3↓
m2↓ M3↓
9 0œ form 0œ 4
8b œ in9 ascending 9 0(4, 4b8,
œ 8 0),n œ0then # œ8 one9 of
œ
11 2 3 7 0 3 4 8
œ
3. Write4 this
8 inverted form 9, 4 do
& P4 #œ #œœ
œ #œ œ œ œ œ œ œ œ œ
the following: o4
& # œ œ
(a) œIf there were no tiesNormal
whenform transposed to
determining start on form,
normal 0 proceed to the
stepm6
4. m6
œ this#inverted
œ
m2↑ M3↑
b œ ties,toput
ndetermine
m3↑
œ œ
(b) If there were tie (break tie by measuringversion
first
0 to penultimate
through
9 note) ascending
8every 4
& œ #œ
& first note to penultimate note. In the example below, we œsee that
“scale” ordering which is the most compact form from
m3↓
the 0second ordering
3 4 (the “tie
8 loser” from normal
m2↓form)M3↓is the most
compact of the reorderings of the inverted normal form.
œ
4 8 9 0 8 9 0 4 9 0 4 8 0 4 8 9
œ œ #œ œ œ #œ
& œ #œ œ œ #œ œ œ œ œ
o4
P4
m6 m6
tie (break tie by measuring first to penultimate note)
& 4. Compare the normal form (transposed to 0) to the most compact inverted
form (transposed to 0). The most compact form is the prime form. Prime
form is written in parentheses with no commas: (0148).
& œ #œ œ œ #œ œ œ œ œ œ
m6 m6
454 tie (break tie by measuringCHAPTER 33. SET
first to penultimate note) THEORY
b œ
3
n
0
œ
4
# œ
8 8 9 0
œ
4 0 1
œ #œ
4 8
&œ #œ œ œ œ #œ
Normal Form transposed to 0 most compact inverted most compact inverted form of
form of normal form Normal Form transposed to 0
Compare: Most compact version is Prime Form
& (a) In the event the prime form reaches pitch integers 10 or 11, use T
for 10 and E for 11; for example (013568T)
33.3.1 Application of Normal Form and Prime Form

Let’s determine normal form and prime form of the first set from the Webern
excerpt.
55
The first chord contained E2, B, and D (3, 11, and 2).
œ
bœ bœ
3 11 2 11 2 3 2 3 11 55
œ œ œ
55
55
& b œ333 œ œ
œœ
bb œœ bb œœ
11 222 11 222 333 222 333 11
œœ œœ form œœ
11
11 11
11 11
11
& œœ œœ compact
& bb œœ most
(Normal Form)
bœ bœ nœ
most compact form
& œ1111 œ22

The
11 normal mostBelow
2 form3is [11, 2, 0most
3]. compact form
3 is the4 calculation
0 to determine
8 prime
œ œ
compact form 9
œ9 b œ8
form. (Normal
(Normal Form)
Form)
(Normal Form)
œ b
b œ
œ œœ bb œœ nn œœ œœ
333 000 333 444 000
œ œ Form
99 88
œœ bb œœ
11 2
&
& œ Normal Normal Form inverted
transposed to 0
Normal
Normal Form
Normal Form
Form Normal
Normal Form inverted
inverted
bœ bœ n 9œ
Normal Form inverted
8 9 0 9 0Form
to 000 8 0 8
œ0 œ0 œ0
transposed
transposed to
& b œ888 n œ999 œ999

transposed to
00 00 bb œœ
888 00 bb œœ888 nn 9œ9œ9
œœ œœ œœ
& bb œœ nn œœ
& œœ
most compact inverted
version of Normal Form
most
most compact
inverted
0 compact3 inverted
bœ nœ bœ nœ
4 8 9 0 0 1 4
& 000œ œ0 œ0
version
version of
of Normal
Normal Form
b 8œ8 n œ99
version of Normal Form
Form
b œ n œ nn œœ
bb œœ inverted
333 444 111 444
œ bœ nœ œœ œœmost compact
8 9 00 00
& œ Normal Form

& bb œœ
most compact inverted nn œœ
transposed to 0 version of Normal Form version transposed to 0
Normal
Normal Form
Normal Form
Form most
most compact
compact inverted
inverted most
most compact
compact inverted
inverted
transposed
transposed to
to 0
0
transposed to 0 version
version of
of Normal
Normal Form
Form
version of Normal Form version
version transposed to
version transposed
transposed to 000
to
Compare: most compact form is Prime Form
œ
œ œ œ #œ
8 9 is 0
œ œ #œ œ œ
Compare:
Compare: most
most compact form is Prime Form
&The8 #prime
œ form
œ is#(014).
9 Compare: most compact
compact form
form is Prime
Prime Form
Form
0
&
&
Now let’s determine the normal form
mostand
encountered: G4, C, and A, or 8, 0, andNormal
9.
primeis form for the third set we
compact
Form
œ œ bœ œ œ œ
8 9 0 0 1 4 0 11 8
& #œ œ #œ
Normal Form Normal Form inverted
transposed to 0
œ
version
bœ nœ
of Normal
b œ
to 0Form
n œ œ œ b œ n œ to 0
&0
transposed version of Normal Form version transposed
b œ n œ n œ
b œ inverted455
3 4 8 9 0 0 1 4
33.3. œ PRIME œ is Primemost
œFormcompact
FORM
b œmostcompact
& Normal Form Compare:most n œ inverted
compact form
œ
transposed to 0 version of Normal Form version transposed to 0
& # œœ œ œ #œ
8 inverted
9 0 most compact inverted
œ œ œ
most compact
#œ #œ
9Normal Form
œ
0 transposed to 0 version of Normal Form version transposed to 0
8 Compare: most compact form is Prime Form
œ most compact is
#œ
œ œ œ
8 9 is Prime
0
&The normal9 form #is0œ[8, 9, œ0].0
8 8# œ # œ1 œ 4 œ 11 8
9 Compare: most compact form
Normal Form Form
œ œ
0
œ œ weœ transpose
œ most œ œ œ
b œ thecompact
0
œ œ #œ
&In0# œ œ # œ
8 9 0
& #œ #œ # œNormalœ Form œ
9
œ
the example below, normalis form to zero, then invert
it. 8
Normal Form Normal Form
œ
is 0 inverted
œ œ b œ œ
most
1 compact
œ #œ
8 9 0 0transposed to 04 11 8
& #œ œ Normal Form
11 œ 0 3 4 110 1 8 4
Normal Form œ
& # œ œ œœ œ œ # œ transposed œ b# œ toœ 0
œ b œœ n œinverted
œ œ b œ# œ œ
88 11 90 0
11 0 8 Normal 0 1
0 8 Form 4 0
& #œ œ œ
In Normal
the following Normal Form
Form example, we put the inverted normalinverted
form through the
#œ #œ œ
reorderings11to find the
11 most transposed
0 8compact
0 8form,to
110then0 compare Normal
3 4to 0it to
0 the Form
1 normal
œ bœ nœ œ bœ œ
8 compact
most 0 transposed 4
& # œ8 11œ œ0 11œ œ0 8 œ

form.
inverted version transposed to 0
#œ #œ œ
œ bversion
œ n œtois0 Prime œ
0 8 11 0 Compare:
3 4 most0 compact1 4
& most œ œ œ œ
# œ compact œ transposed œ bForm
œ Form
Normal
transposed to 0
inverted version
most compact transposed Normal Form
to 0most
Compare: compactto 0
transposed
inverted version version is Prime Form
Compare: most compact
version is Prime Form
We see that the third set has the same prime form—(014)—as the other
sets in the opening measures of Webern’s Op 5, No. 3. Prime form can allow
us to see relationships that may not be apparent on the surface of the music.
33.3.2 Segmentation
What about the C4 in the cello part? Should it be included with the three
notes from the chords? Will another similarity be revealed? Segmentation
is the term for “segmenting” or determining which notes to group together
and analyze in a passage. Usually, segmentation is based on the music—notes
sounding together as a chord, or notes in a melodic line. However, analysts
may look at every possible combination of notes to search for deeper layers of
connection.
Below, we examine the first two chords with the C4 included in each.
(most compact)
œ #œ œ bœ
10 semitones 11 semitones 11 semitones 4 semitones
œ œ #œ #œ œ
&
#œ œ bœ œ bœ bœ œ
[11, 1, 2, 3]
Normal Form
bœ nœ œ #œ œ œ
&œ œ œ bœ œ bœ bœ nœ bœ œ
0 2 3 4 0 1 2 4
NF transposed to 0 inverted inverted form inversion

ascending transposed to 0
& œ œ #œ bœ œ
#œ œ œ #œ œ bœ
56
56
456
#œ œ bœ œ bœ (most
CHAPTER 33.[11,
SET compact)
1, THEORY
2, 3]
œ #1œ œ2 b œ4œ
10 semitones 11 semitones 11 semitones 4 semitones
& œ0 œ2œ b bœ3œ n œ4œ œœ b œ œ # œ b œ œ # œ œœ

Normal Form
& #œ bœ œ bœ bœ nœ bœ œ #œ œ
0
[11, 1, 2, 3]
NF transposed to 0 inverted inverted form Normal Form
inversion
œ bœ nœ œ #œ œ œ
&œ œ bœ œ bœ bœ nœ bœ œ
0 2 3 4 ascending transposed to 0
0 1 2 4
Compare: most compact version is Prime Form

NF transposed to 0
The prime form of the (most compact)
inverted
first inverted form
set, when including the C4 frominversion
the cello, is
œ œ bœ
11 semitones 6 semitones 9 semitones
ascending 11 semitones
transposed to 0
(0124).
& œ bœ nœ œ bœ nœ #œ bœ nœ #œ œ #œ
#œ
Here is the secondCompare:
chord with
most the C4 added
compact versionto it. Form
is Prime
(most compact)
œ bœ
[7, 6 semitones
10, 11, 1]
œ
11 semitones 9 semitones 11 semitones
# œ # œ # œ
Normal Form
b œ
& #0œ 3œ 4 6 œ n œ b œ n œ b œ n œ 0œ 2
b œ n œ # œ œ[7, œ10, b œ11, 1] œ b œ #œ
&œ bœ bœ bœ nœ œ œ
3 6
Normal Form
bœ nœ #œ œ œ bœ bœ bœ bœ nœ œ œ œ bœ #œ
&œ
0 3 4 6 ascending 0transposed
2 3 to 06

&
#œ œ Œ
The prime form of the second set, when including the C4 from the cello, is
& œ
(0236).
&Weœ do not see any relationship between these first two sets after including
œ Œ
& new segmentation. œ
the C4 with each three–note set. One doesn’t know this until one examines
this
& b b œœ
& & b b œœ Œ Ó
33.4 Interval Vector
? bœ #œ
& nœ #œ
An interval vector (also known as “Interval Class Content”) is a list of every
? œ
possible interval occurring in a pitch–class set. Calculating an interval vector
œ
bœ #œ
is rather straightforward. First, after determing normal form, measure from
the first note to all the other notes. Second, measure from the second note
to all higher notes (not back or down to the first note). Continue measuring
from each successive note to the notes following and you will have completed
the interval vector.
Before demonstrating this, it is important to discuss the term “interval
class.” An interval class (abbreviated “ic”) is the shortest distance between
two notes measured in semitones. In the example below, C up to A is a major
6th. However, the shortest distance between C and A (measure downward) is
a minor 3rd. Therefore, the largest interval class is 6 (the tritone), because
any perfect 5th (for example, from C to G) has an interval class of 5 (a perfect
4th) because C down to G is a perfect 4th.
& œ œ
bœ œ œ
58
œ
& œ œ
œ bœ œ œ
33.5. FORTE NUMBERS 457
œ œ
&œ œ œ œ œ œ
58
Minor 3rd œ œœ 5th

œPerfect œ
& œ b
&betweenœ œ œ œ œ œ œ
œ C and A)
Major 6th Perfect 4th
(shortest distance (shortest distance
between C and G)
Major 6th Minor 3rd Perfect 5th Perfect 4th
& œ œ
With this in mind, let’s complete an interval vector of the a half–diminished
œ œ œ œ
(shortestorder,
58 7th chord on G. First, arrange the notes in ascending distance (shortest distance
œ
then measure from
& œ
between C and A) between C and G)
œ œ
the first note to the second, third, and fourth notes.
& Major
b œ œ œ
œ
m7=ic2
6th
o
Minor 3rd Perfect 5th Perfect 4th
5=ic6
& œ C and A)
(shortest distance (shortest distance
b œ œ b œ
m3=ic3
œ
between between C and G)
& œœ m7=ic2 œ œ œ
& o
5=ic6
œ œ
&
Interval
Major
bœ
Class:
m3=ic3
bœ
6th 1 P5=ic5
2 3 Minor
œ
4 53rd 6 Perfect 5th Perfect 4th
&œ
Occurrences 0 1 1(shortest
œ
0 0 distance
1 (shortest distance
bœ
m3=ic3
bœ
Second, measure from the second note tobetween
the thirdC and
and fourth
A) between C and G)
&œ
notes. We
add one tally each for interval class (ic) 3 and 5.
m7=ic2
&
o5=ic6 P5=ic5
m3=ic3 m3=ic3
bœ bœ œ
&œ M3=ic4
œ
bœ bœ
&œ
& Interval Class: 1 2 3 4 5 6
P5=ic5
Occurrences 0 1 M3=ic4
2 0 1 1
bœ œ
m3=ic3
&œ bœ
Finally, measure from the third note to the fourth note, and the interval
vector will be complete. We add one tally for ic4; the complete interval vector
&
is 012011, which tells us a half–diminished chord has zero half steps, one major
&
2nd (shown in this voicing as a minor 7th), two minor 3rds, no major 3rds,
one perfect 4th (shown in this voicing as perfect 5th), and one tritone.
œ
M3=ic4
bœ bœ
&œ
&
Interval Class: 1 2 3 4 5 6
Occurrences 0 1 2 1 1 1
&
An interval vector always contains 6 digits. When an interval class does
&
&
not occur (the way the minor second did not occur in the G half–diminished
seventh chord), place a zero in the column for that interval class.
33.5 Forte Numbers

&
&
When Allen Forte created a catalog of every possible 3–, 4–, 5–, 6–, 7–, 8–,
and 9–note set in Appendix 1 of The Structure of Atonal Music, he labeled
each prime form with two numbers separated by a hyphen. His labels (3–1,
&
3–2, etc.) are now known as “Forte numbers,” and are seen in the tables in the
Lists of Set Classes, which include prime forms and interval vectors as well.
33.5.1 Z–Relations
“Z” in a set label (for example, 4–Z29) stands for “zygotic” (“twinned”), and is
used when different prime forms (for example, 4–Z29 and 4–Z15 have the same
interval vector—111111).
33.6 Lists of Set Classes
Below are lists of all set classes with prime form, Forte number, and interval
vectors shown. Allen Forte published the original list of set classes in The
Structure of Atonal Music in 1973. These lists use prime forms as calculated
using the Rahn method. Prime forms of sets are ordered from most packed
to the left to least packed to the left, as is found in the list of set classes in
both John Rahn’s Basic Atonal Theory and Joseph Straus’ Introduction to
Post–Tonal Theory. Sets are listed across from their complements. When
taken together, complements can complete the 12–note chromatic scale when
correctly transposed (and sometimes inverted).
Prime Forte Interval Prime Forte Interval

Form Number Vector Form Number Vector
(012) 3–1 210000 (012345678) 9–1 876663
(013) 3–2 111000 (012345679) 9–2 777663
(014) 3–3 101100 (012345689) 9–3 767763
(015) 3–4 100110 (012345789) 9–4 766773
(016) 3–5 100011 (012346789) 9–5 766674
(024) 3–6 020100 (01234568T) 9–6 686763
(025) 3–7 011010 (01234578T) 9–7 677673
(026) 3–8 010101 (01234678T) 9–8 676764
(027) 3–9 010020 (01235678T) 9–9 676683
(036) 3–10 002001 (01234679T) 9–10 668664
(037) 3–11 001110 (01235679T) 9–11 667773
(048) 3–12 000300 (01245689T) 9–12 666963
Table 33.6.1: List of Set Classes for 3– and 9–note sets (Trichords and Nona-
chords)
33.6. LISTS OF SET CLASSES 459

(0123) 4–1 321000 (01234567) 8–1 765442
(0124) 4–2 221100 (01234568) 8–2 665542
(0125) 4–4 211110 (01234578) 8–4 655552
(0126) 4–5 210111 (01234678) 8–5 654553
(0127) 4–6 210021 (01235678) 8–6 654463
(0134) 4–3 212100 (01234569) 8–3 656542
(0135) 4–11 121110 (01234579) 8–11 565552
(0136) 4–13 112011 (01234679) 8–13 556453
(0137) 4–Z29 111111 (01235679) 8–Z29 555553
(0145) 4–7 201210 (01234589) 8–7 645652
(0146) 4–Z15 111111 (01234689) 8–Z15 555553
(0147) 4–18 102111 (01235689) 8–18 546553
(0148) 4–19 101310 (01245689) 8–19 545752
(0156) 4–8 200121 (01234789) 8–8 644563
(0157) 4–16 110121 (01235789) 8–16 554563
(0158) 4–20 101220 (01245789) 8–20 545662
(0167) 4–9 200022 (01236789) 8–9 644464
(0235) 4–10 122010 (02345679) 8–10 566452
(0236) 4–12 112101 (01345679) 8–12 556543
(0237) 4–14 111120 (01245679) 8–14 555562
(0246) 4–21 030201 (0123468T) 8–21 474643
(0247) 4–22 021120 (0123568T) 8–22 465562
(0248) 4–24 020301 (0124568T) 8–24 464743
(0257) 4–23 021030 (0123578T) 8–23 465472
(0258) 4–27 012111 (0124578T) 8–27 456553
(0268) 4–25 020202 (0124678T) 8–25 464644
(0347) 4–17 102210 (01345689) 8–17 546652
(0358) 4–26 012120 (0134578T) 1 8–26 456562
(0369) 4–28 004002 (0134679T) 8–28 448444
Table 33.6.2: List of Set Classes for 4– and 8–note sets (Tetrachords and
Octachords)

(01234) 5–1 432100 (0123456) 7–1 654321
(01235) 5–2 332110 (0123457) 7–2 554331
(01236) 5–4 322111 (0123467) 7–4 544332
(01237) 5–5 321121 (0123567) 7–5 543342
(01245) 5–3 322210 (0123458) 7–3 544431
(01246) 5–9 231211 (0123468) 7–9 453432
(01247) 5–Z36 222121 (0123568) 7–Z36 444342
(01248) 5–13 2221311 (0124568) 7–13 443532
(01256) 5–6 311221 (0123478) 7–6 533442
(01257) 5–14 221131 (0123578) 7–14 443352
(01258) 5–Z38 212221 (0124578) 7–Z38 434442
(01267) 5–7 310132 (0123678) 7–7 532353
(01268) 5–15 220222 (0124678) 7–15 442443
(01346) 5–10 223111 (0123469) 7–10 445332
(01347) 5–16 213211 (0123569) 7–16 435432
(01348) 5–Z17 212320 (0124569) 7–Z17 434541
(01356) 5–Z12 222121 (0123479) 7–Z12 444342
(01357) 5–24 131221 (0123579) 7–24 353442
(01358) 5–27 122230 (0124579) 7–27 344451
(01367) 5–19 212122 (0123679) 7–19 434343
(01369) 5–31 114112 (0134679) 7–31 336333
(01457) 5–Z18 212221 (0145679) 2 7–Z18 434442
(01458) 5–21 202420 (0124589) 7–21 424641
(01468) 5–30 121321 (0124689) 7–30 343542
(01469) 5–32 113221 (0134689) 7–32 335442
(01478) 5–22 202321 (0125689) 7–22 424542
(01568) 3 5–20 211231 (0125679) 4 7–20 433452
(02346) 5–8 232201 (0234568) 7–8 454422
(02347) 5–11 222220 (0134568) 7–11 444441
(02357) 5–23 132130 (0234579) 7–23 354351
(02358) 5–25 123121 (0234679) 7–25 345342
(02368) 5–28 122212 (0135679) 7–28 344433
(02458) 5–26 122311 (0134579) 7–26 344532
(02468) 5–33 040402 (012468T) 7–33 262623
(02469) 5–34 032221 (013468T) 7–34 254442
(02479) 5–35 032140 (013568T) 7–35 254361
(03458) 5–Z37 212320 (0134578) 7–Z37 434541
Table 33.6.3: List of Set Classes for 5– and 7–note sets (Pentachords and
Septachords)
In the table below, when no set is listed across from a six–note set, it is
self–complementary (that is, it can combine with a transposed and possibly
inverted set of itself to complete a 12–note chromatic scale.
33.7. TRANSPOSITION (TN ) 461

(012345) 6–1 543210
(012346) 6–2 4443211
(012347) 6–Z36 433221 (012356) 6–Z3 433221
(012348) 6–Z37 432321 (012456) 6–Z4 432321
(012357) 6–9 342231
(012358) 6–Z40 333231 (012457) 6–Z11 333231
(012367) 6–5 422232
(012368) 6–Z41 332232 (012457) 6–Z12 332232
(012369) 6–Z42 324222 (013467) 6–Z13 324222
(012378) 6–Z38 421242 (012567) 6–Z6 421242
(012458) 6–15 323421
(012468) 6–22 241422
(012469) 6–Z46 233331 (013468) 6–Z24 233331
(012478) 6–Z17 322332 (012568) 6–Z43 233331
(012479) 6–Z47 233241 (013568) 6–Z25 233241
(012569) 6–Z44 313431 (013478) 6–Z19 313431
(012578) 6–18 322242
(012579) 6–Z48 232341 (013578) 6–Z26 232341
(012678) 6–7 420243
(013457) 6–Z10 333321 (023458) 6–Z39 333321
(013458) 6–14 323430
(013469) 6–27 225222
(013479) 6–Z49 224322 (013569) 6–Z28 224322
(013579) 6–34 142422
(013679) 6–30 224223
(023679) 5 6–Z29 224232 (014679) 6–Z50 224232
(014568) 6–16 322431
(014579) 6 6–31 223431
(014589) 6–20 303630
(023457) 6–8 343230
(023468) 6–21 242412
(023469) 6–Z45 234222 (023568) 6–Z23 234222
(023579) 6–33 143241
(024579) 6–32 143250
(02468T) 6–35 060603
Table 33.6.4: List of Set Classes for 6–note sets (Hexachords)
33.7 Transposition (Tn )
Transposition is an operation performed as Tn , where n is the number of

semitones up a set is transposed. For example, [1, 2, 4, 6] at T4 is [5, 6, 8, 10].
59
all notes transposed up 4 semitones (T4)
& 44 œ œ #œ œ bœ bœ bœ
#œ
[1 2 4 6] [5 6 8 10 ]
When working in a modulo 12 system, remember that numbers larger than

12 have to be reduced to a number smaller than 12 by subtracting 12 from the
larger number. For example, 6, 8, 10, 11 at T9 would result in 15, 17, 18, 20,
&
which, after subtracting 12 from each number, results in 3, 5, 6, 8.
Pitch classes: 6 8 10 11
at T9 : + 9 9 9 9
&
Result: 15 17 18 20
Make numbers modulo 12: – 12 12 12 12
Result: 3 5 6 8
59
Table 33.7.1
all notes transposed up 4 semitones (T4)
&4 4 bœ bœ bœ
33.8 Inversion (T# œn I) œ œ #œ œ
[1 2 4 6] [5 6 8 10 ]
Inverting a set using Tn I is a compound operation. The first step is to invert
each note below C using C as an axis. For example, E is a major 3rd above C,
so E would invert to A2, a major third below C.
59
œ
M3 above
all notes C inverts
transposed up 4 to M3 below
semitones (T4)C at T0I
& ˙ bœ
& 44 œ œ # œinversion at T0œI
C is axis of
bœ bœ bœ
#œ
& first invert E to A2 (this is T0 I), then transpose the
The[ 1second step
2 of inversion
4 is to
6 ] apply the
[ 5 Tn interval.
6 So,8 to calculate
10 ] T3 I
for the note E, one would
A2 up 3 semitones to B. (Theorist Joseph Straus simplifies the nomenclature
to In instead of Tn I, but the outcome remains the same.)
Let’s try inverting a pitch–class set, applying T7 I to [2, 4, 5] (or D, E, and
œ 8,theand
M3 above C inverts to M3 below C at T0I
˙7 (or B2, bAœ2, and G), which in ascending order is 7, 8, and
F). Inverting notes to the opposite side of C using C as an axis yields pitch
&
numbers 10,
10. Then transposing [7, 8, 10] at T7 raises each note 7 semitones, resulting in
C is axis of
[2, 3, 5] (or D, inversion
E2, andatF). TI0
pitches: 5 4 2 inverts to 10 8 7 Then transpose:
œ œ œ œ bœ œ
int.: P4↑ M3↑ M2↑ M2↓ M3↓ P4↓ [7 8 10 ] at T7 = [ 2 3 5]
& ˙ bœ bœ œ œ bœ bœ
C is axis of Therefore, [2, 4, 5] at T7I = [2, 3, 5]
inversion at T0I
&
33.8.1 Identifying Tn I for Inversionally–Related Sets
To determine n of Tn I for two inversionally–related sets, write the second set
backward and add the notes of the two sets together. Each sum will equal n.
Let’s use our two sets from the previous example above: [2, 4, 5] and [2, 3, 5].
First set in order: 2 4 5

Second set backward: + 5 3 2
n of Tn I: 7 7 7
Table 33.8.1
This confirms the sets are related at T7 I.
Day One
#œ
& 6œ b œ b œ b œ b œ nœœ œ bœ 0 2 3 6
& œ b œ œn œ b œ [7,œn œb10,œ# œn11,œ #1]œœ b œ n œ # œ œ #œ œ œ œ bœ #œ
0 3 4
& to 0 Normal inverted

# œ NF transposed Form œ b œ binverted
œ bform œ b œ n œ inversion
[7, 10, 11, 1] ascending transposed to 0
œ b œ n œ #NF œCHAPTER œ
THEORYinverted form # œ
œ0Formœ2 b œ3 6
n œ isœPrimeascending
464 0 3 4 6 Normal
transposed toForm
033. SET inverted 0 2 3 6 inversion
& 0 3 4 6 œ b œ most b œ b œversion
b œ compact transposed to 0
b œand ##toœœ0 œform.

n œ prime œ bœ #œ
Compare:
1.
& NFœ transposed
Put each set into normal form
œ b œ Compare:
b œ b œ b œ n œ œversionœ isinversion
&œ Œ
inverted inverted
most form
compact Prime Form
# œinverted œ inverted form

(a)
œ & œ Compare: most compact version Œ is Prime Form transposed to 0
NF transposed to 0 inversion
œ Œ
ascending
& # œ œ Compare: œ œ mostŒ compact

&œ œ Œ
version is Prime Form
œ b b œœ #&œ œ œ
(b) œ
& & b b œœ œ Œ Œ Ó
& œ b œ œ Œ
&œ bb b œœœ Œ
Œ Ó
?
& bœbœ # œ
nœ œ Œ
& bb b œœœ ? #œ
# œ
Ó
b œ
b b œœ b œ nŒœ #œ Ó
(c)
&? b œ œ œ
? bœ # œ
bœ ? nœ #œ #œ œ
? bœ
nœ bœ
#œ #œ œ
? # œœ
(d)
#œ œ
? bœ œ œ
bœ # œ
57
57
57
(e)
œœ # œ## œœ œœœ # ##œœœ œœœ

&
&&œ
(f)
& œœ # œ## œœ œœœ b bœb œœ n nœn œœ

&&œ
bœ
(g)
? œœ bb œœ n œnn œœ # ##œœœ œœœ b bœœ
??œ bœ
&
&&
&
&&
&
&&
&
&&
Day Two
&
&
&
&
&
&
2. For each of the six sets in the example below, determine the normal
form, prime form, Forte number, and interval vector.
211
# œ˙ # œ œ œ # ## œœœ # œ n n n œœœ
6
# œœ n˙
1 2 3 4 5
bœ
&c b b b œœœœ n œœœ b b ˙˙˙˙
# # # ˙˙˙
168
b
b œ b ˙
#œ # # œœœ
?c # œ ∑
Day Three
170
&
3. Transposition (Tn ) of Sets. Transpose the following sets as specified.
(a) Transpose [3, 6, 7] at T2 : [ , , ]
? Transpose [2, 4, 8, 9] at T7 : [
(b) , , , ]
(c) Transpose [1, 2, 4, 7, 8] at T9 : [ , , , , ]
4. Inversion (Tn I) of Sets. Invert the following sets. Write your answers
in normal form.
(a) Invert [7, 10, 11] at T0 I: [ , , ]
(b) Invert [0, 2, 4] at T4 I: [ , , ]

(c) Invert [4, 6, 10, 11] at T9 I: [ , , , ]
5. Specify the interval of inversion from the first set to the second set.
(a) [2, 4, 7] inverts to [3, 6, 8] at what Tn I?
(b) [1, 2, 4, 7] inverts to [4, 7, 9, 10] at what Tn I?

(c) [6, 7, 10, 1, 2] inverts to [3, 4, 7, 10, 11] at what Tn I?
Chapter 34
Serialism
Serialism is a term that encompasses the twelve–tone technique of Schoenberg,

Webern, and Berg, who were the major figures we associated with expres-
sionism and atonality in the previous chapter on set theory. We will begin
by discussing classic twelve–tone serialism before discussing non–twelve–tone
serialism.
34.1 Twelve–Tone Technique
YouTube: https://www.youtube.com/watch?v=bQHR_Z8XVvI
Figure 34.1.1: Arnold Schoenberg, Suite for Piano, Op. 25
In a twelve–tone composition, every note can be accounted for as being a

member of the original series or one of its permutations, providing unity to the
piece as a whole. Additionally, a twelve–tone series is a repository of intervals
and can be seen as an outgrowth of atonal music with its emphasis on interval
over chord or scale. The basic premises of twelve–tone music are as follows:
1. All twelve notes of the chromatic scale must occur
2. No note can be repeated in the series until the other 11 notes of the
chromatic scale have occurred (exceptions include direct repetition of a
note, trills, and tremolos)
3. The series can be inverted, retrograded, and the inversion can be retro-
graded
4. The order of notes in a series remains fixed, without reordering.
467
468 CHAPTER 34. SERIALISM
34.1.1 Row Forms

A twelve–tone series is also commonly called a twelve–tone “row,” and we will
use the term “row” throughout this chapter.
The four types of row forms used in twelve–tone technique are prime (P),
retrograde (R), inversion (I), and retrograde inversion (RI). The prime is the
60 original row. The retrograde is the prime form backward. The inversion is
œ œ bœ œ bœ œ œ œ nœ #œ #œ #œ #œ
˜)
œ bœ œ #œ œ œ nœ œ
the original row itwith
R1 (1 means ends all
on Cintervals in the row inverted
RI7 (7 (going
means itinends
theonopposite
G)
direction of the original). Finally, the retrograde inversion is the inversion
& #œ # œ œ
retrograded (and therefore might have more appropriately been labeled “in-
version retrograded” since “retrograde inversion” sounds like it refers to the
backward form inverted instead of the inverted form backward).
bœ nœ œ nœ œ bœ bœ nœ œ œ œ bœ bœ œ
Prime (Original) Retrograde = Prime backward
œ b œ b œ œ n œ œ œ b œ
60 & #œ #œ
œ b œ
R1 (1 means it ends on C˜)
œ œ b œ =œInversion
œ = Prime with b œ œintervals œ # œ # œ # œ #Retrograde nœ œ
RI7 (7 means it ends on G)
œ œ ninverted œ œ # œ œ œbackward
&œ # œ # œ
b œ b œonn œC˜)œ # œ # œ œ œ # œ # œ RIn œ7 (7œ bmeans
Inversion Inversion
& R1 œ(1œ #bmeans œ b œ itœends œ nœ

onn G)
60
œœ n œœ itœ ends œ # œ
œ b œ œ œ œ n œ # œ # œ # œ #Retrograde œ œ œ bœ œ #œ œ œ nœ œ
& #œ #œ
b œ n œ œ n œ œ b œ Numbers œ bœ bœ œ
bœ œ nœ #œ #œ œ œ bœ bœ nœ œ œ
Prime (Original) = Prime backward
& œ bœ
34.1.2 Transposition
& row
b œ n œ œ binversions,
œbackward
Each form can be transposed to start on any note= from Prime the chromatic scale.
œ œintervals œand
Prime (Original) Retrograde backward
œ
We will use
b œ
the same
œ b œ binverted
P and Inaccompanied
pitch
œ
integers
n œ
as in set
œ
theory.
b œ bspecify
For
œ n œ =œthe
primes
b œ note.
œ
& œœ # œœ #œœ # œœ n œ
Inversion = Prime with Retrograde Inversion Inversion
œ œ # # œ # œ n œa
we will use by a pitch integer to starting
&
For example, œ # œ nrow
P0 isb œa btwelve–tone
œ œstarting œ n œon E2, and so forth. The same
row starting on C (pitch b œ
œ b œ is the œ œcase
integer n œ
# œ for row
0), P 3 is
twelve–tone
& like I2 (starting on D),œ I#5œ(starting
b œ n œon C) # œ œ œP3# (3œ #means
Inversion = Prime with intervals inverted Retrograde
on F), onInversion
so forth.= Inversion backward
œ n œ the
forms
&P0 (0œ means

œ # œ ntheœ œ b œstarts œ b œ b œ œ œon# œE¯)n œ n œ
œ b œstarts
œ b row
bœ nœ œ nœ œ bœ œ œ bœ bœ œ nœ nœ
row
& œ bœ bœ œ nœ #œ bœ nœ
&I (2 means b œ n œ œ œ b œ theb œ row
œ œstarts
b œ bonœ F)œ n œ
P0 (0 means the row starts on C) P3 (3 means the row starts on E¯)
2 œ b œ n œ œ b œ b œ n œ b œ n œ nœœ
&
the row starts on D)
œœ #b œ œ I (5 means
œ # œ # œ
œ œ b œ œ b œ b œ n œ
& #œ #œ nœ œ nœ bœ nœ œ bœ œ
5
œ b œ œ # œ œuse
œ # œforms
I2 (2 means the row starts on D) I5 (5 means the row starts on F)
&R1 (1œ #means
œ n œ b œ n œ œ b œ œ œ b œ œ b œ b œ n œ
œ n œ œof the lastb œnote in the row
& pitch #integer
However, the retrograde (R) and retrograde inversion (RI) row
˜
b œ n œ œ # # œ G.
œ on nœ œ bœ œ œ nœ
the row ends on C ) RI (7 means the row ends on G)
level. Therefore,œR1œ ends bœ œ #œ #œ
the 7 to designate their transposition
œ b œ n œ œ # œ
&œ
on C 4 , and RI 7 ends
R1 (1 means the row ends on C˜)

œ
& œ œ bœ nœ œ œ bœ bœ nœ œ #œ #œ #œ nœ œ bœ œ œ œ #œ #œ nœ
b œ
RI7 (7 means the row ends on G)
&
&
34.2 Determining Row Forms
&
&
To determine a row form’s permutation and transposition, examine the inter-
vallic composition of each row form. In the example below, each row statement
&
? œ‰ bœœ bbœœ nœœœ œ# œn œœ œœ .b #œœ # œ œ n œ b œ #bœœœnœœ # œœ. b #œœ b#œœ nœœ œœ b œ bbœœ Jœ nœœ
œ
P0 (0 Imeans
11 the row starts on C) P3 (3 means the row starts on E¯)
P1
& bœ œ nœ #œ œœ nœ
34.2. DETERMINING
3 ROW
3
FORMS 3 3
3 469
3
œ bœ bœ œ œ œ bœ œ bœ bœ nœ œ #œ #œ œ
is Ibased
2 (2 means the prime
row starts on of
D) the row in the
I5 (5previous
means thesections.
row starts on F)
œ
on the form
174 œ # œ
œ œ # œ n œ b œ n œ
&& œ # œ n œ œ œ œ b œ b œ b œ n œ œ b œ ‰ b œj œ œ b œ b œ œ n œ œ n œ b œ b œ n œ
.
3
œ b œ œ row b œonœ G)œ

œ # œ œends
3
R? œ . on
# œ C# œ˜) œ n œ b œ # œRIœ7œ(7# œmeans
. # œ #then row
œ œ œends J
‰
1 (1 means the
œ œ bœ bœ bœ nœ œ œ œ
# œ # œ n œ œ b œ œ œœ 3 # œ n œ
& œ œ bœ nœ 3 3
#œ 3 3
3
œ #œ
Let’s examine the starting intervals of each row form.
P4↑ m2↑ M2↓ m2↑
bœ nœ œ nœ œ bœ œ œ bœ bœ œ
P0 m2↑ m3↑
œ b œ b œ œ #œ #œ nœ nœ bœ bœ nœ œ
n œ
R0
&
m2↓ P4↓ m2↓ m3↓ M2↑ m2↓
œ œ #œ #œ nœ œ bœ bœ
I0
& œ nœ #œ nœ œ bœ bœ nœ œ #œ #œ œ œ #œ nœ nœ
RI0
In examining the first few notes in the upper staff in the short musical
excerpt below, we see an ascending minor 3rd followed by a descending major
&
2nd. The only row form to start with these intervals is the retrograde. To 211
#œ œ œ #œ #œ nœ
determine 1the transposition number, we3 look at the
4 last note5 (the 12th
6 note) 211
bœ #œ n˙
2
& c # # # ˙˙œ˙ # œ œ œ # ## œœœ # œ n n n œœœ b b b œœœœ b œ b #n œœœœœ b bn ˙˙˙˙˙

168 in the first measure in the upper
2
staff (A
3
2), which gives us the transposition
6
1 4 5
# ˙
& c # # ˙˙˙ # œ b b b œœœœ b b n œœœœœ b b b ˙˙˙˙˙
level (pitch integer 8), meaning this is R8 . The second measure in the upper
# # œœ n n œœ
168
staff begins with a minor 3rd followed by an ascending major 2nd, making this
# ˙ #œ # # œœœ
a retrograde inversion. The 12th note in this measure is an E (pitch integer 4),
b œ b ˙
?c # # œœ ∑
# # œœœ
making this RI4 . In the first measure of the lower staff, we find a descending
?c # œ
minor 2nd followed by a descending perfect 4th, making this I11 . Finally, the
second measure in the lower staff begins on C4 with an ascending minor 2nd
followed by an ascending perfect 4th, making this P1 .
∑
M2↑
œ œ M2↓
. œ #œ œ bœ bœ nœ
m3↑ M2↓
j M2↑ b œ œ n œ œ b œ b œ n œ
m3↓
c œ bœ œ bœ ‰ b œm3↓ nœ
170
& m3↑
œ3. œ # œ j œ œ bœ
œ b œ b œ n œ ‰ b œ1 œ œ3 b œ4 5 œ6 7 8œ n œ b10œ b11œ n12œ
b œ n œ
& c 1 2 3 4 35œ 6œ b7œ 8 9 10 11œ b œ
170
2
12 9
3 2 3 4
1
œ9 œ
m2↓ P4↓
œ b œ P4↓œ œ # œ œ œ . # œ b œ
3
4 9 10 m2↑ P4↑ 5 6 7 8
œ # œ
8 10 11 12
.
2 3 5 6 7
? c ‰ m2↓ # œ n œ
1 11 12
œ b œ # œ œ n œ b œ #m2↑
œ œP4↑ # œ œ œ œ Jœ
œ œ . # œ
? c ‰ 1 2 œ œ3# œ 6 3 # œ œ n œ b œ # œ 3œ œ # œ . #3 œ # œ n œ œ œ œ b œ 11J 3 œ
3 4 5 7 10 12
2 3 4
3
8 11 9 5 6 7
1 8 9 910
12 3
1 2 3 3
3 4 5 6 7 11 12
3 3
10 3 4 5 6 7
3
The row forms are 8 in
labeled 9 11 2
1 below.
the example 8 9 9 10
12
172
& Rœ 8œ . (ends
œ #œ ‰ b œj œ œ b œ
on 8) RI4 (ends on 4)
œ œ bœ bœ bœ nœ œ bœ bœ œ nœ œ nœ bœ bœ nœ
172
&
?
3
3
? ‰ œ b œ œ œ # œ œ œ . # œ # œ œ n œ b œ # œ œ œ # œ . # œ # œ n œ œ œ œ b œ œJ œ
I11
P1
3
3 3 3 3
3
181
&
174
&
?
?
34.3 Writing Row Forms
To write specified row forms from a given prime form, write all four versions
of the row: P, R, I, and RI. Then, simply transpose the specified row form to
the correct pitch, remembering that P and I forms start on the pitch integer
(P3 and I3 would begin on E2, for example) while R and RI forms end on the
pitch integer (R3 and RI3 would end on E2).
To write I9 and RI5 if given P0 :
61
1. Write all four row forms (P, R, I, RI).
b œ n œ œ œ bœ bœ œ
œ b œ bœ œ nœ #œ #œ nœ nœ bœ bœ nœ œ œ
P0
b œ n œ
R
&œ
0
œ œ #œ #œ nœ
I0 RI0
& œ nœ #œ nœ œ bœ bœ nœ œ #œ #œ œ bœ bœ œ œ #œ nœ nœ
bœ nœ œ nœ œ bœ œ bœ bœ
b œ œ n œ # œ #Rœ0 n œ n œ b œ b œ n œ œ œ
P
b œ
R
& Pœ0 b œ n œ œ
0 0
œ œ œcorrect
bœ bœ nœ œ œ b œ
& & œ row
2. Transpose the specified
b œ form to nthe œ # œ # œlevel.
transposition nœ nœ bœ bœ nœ œ bœ œ
œ œ
I0 RI0
& Iœ0 n œ # œ n œ œ b œ b œ n œ œ # œ # œ RI#0 œ # œ n œ œ b œ b œ œ œ #œ nœ nœ

œ 6th)
œ # œto#begin
& œ9).n œ # œ n œ œ b œ b œ n œ œ # œ # œ œ nœ œ bœ bœ œ œ #œ nœ nœ
(a) In this example, transpose I0 up 9 semitones (a major
on A (pitch class
I9 (begins on pitch class 9)
& œI9#(begins
œ # œ n œonœpitch # œ 9)œ # œ # œ # œ
n œ œclass
& œ #œ #œ nœ œ nœ œ #œ œ #œ #œ #œ
(b) To write RI5 , transpose RI0 up 5 semitones (a perfect 4th) so the
œ # œ # œ 5).
nœ œ bœ bœ œ nœ
RI5 class
(ends on pitch class 5)
bœ nœ nœ
last note if F (pitch
& œ #œ nœ
#œ bœ œ bœ nœ nœ nœ
RI5 (ends on pitch class 5)
& œ b œ
&
&
34.4 Twelve–Tone Matrix
One tool analysts create to analyze a twelve–tone composition is a twelve–tone

matrix, which shows all 48 row forms in a 12 by 12 grid. Below is a matrix for
the row we’ve been dealing with in this chapter.
34.5. ROW FORM PRESENTATION IN MUSIC 471
I0 ↓ I1 ↓ I2 ↓ I7 ↓ I5 ↓ I2 ↓ I4 ↓ I3 ↓ I10 ↓ I9 ↓ I11 ↓ I8 ↓
P0 → C D2 G2 G F D E E2 B2 A B G4 ←R0
P11 → B C F G2 E D2 E2 D A A2 B2 G ←R11
P6 → G2 G C D2 B A2 B2 A E E2 F D ←R6
P5 → F G2 B C B2 G A A2 E2 D E C4 ←R5
P7 → G A2 D2 D C A B B2 F E G2 E2 ←R7
P10 → B2 B E2 F E2 C D D2 A2 G A F4 ←R10
P8 → A2 A D E2 D2 B2 C B F4 F G E ←R8
P9 → A B2 E2 E D B C4 C G G2 A2 F ←R9
P2 → D E2 A2 A G E F4 F C B D2 B2 ←R2
P3 → E2 E A B2 A2 F G G2 D2 C D B ←R3
P1 → D2 D G A2 G2 E2 F E B B2 C A ←R1
P4 → E F B2 B A G2 A2 G D D2 E2 C ←R4
↑RI0 ↑RI1 ↑RI2 ↑RI7 ↑RI5 ↑RI2 ↑RI4 ↑RI3 ↑RI10 ↑RI9 ↑RI11 ↑RI8
Table 34.4.1: Twelve–Tone Matrix
To construct a matrix, write the prime form from left to right in the top
row, then write the inverted form from top to bottom in the left column.
I0 ↓
P0 → C D2 G2 G F D E E2 B2 A B G4 ←R0
B
G2
F
G
B2
A2
A
D
E2
P1 → D2
E
↑RI0
Table 34.4.2
From there, you can write the transpositions of the prime form, given the
starting notes in the left column. One would continue with each transposition
of the prime form until the matrix is complete.
34.5 Row Form Presentation in Music
In a piece of music, twelve–tone rows may not be clearly presented. One manner
of presentation is overlap, where the final note of one row is the starting note
of the next row.
64
œ œ. œ #œ œ œ bœ bœ bœ nœ bœ nœ
R8 RI
œ bœ œ œ bœ bœ œ nœ œ œbœ
4
&
3
3
1 2 3 4 5 6 7 8 9 10 11 12
1 2 3 4 5 6 7 8 9 10 11 12
&
Figure 34.5.1: Twelfth note overlapping with first note in successive row
statements
Rows may also be presented contrapuntally or harmonically. In the example
&
below, the row is separated into three tetrachords and presented contrapun-
tally.
1 2 3 4
œ #œ P0
œ œ
‰ œ ‰
P0
& œ bœ nœ
212
bœ bœ
176
& œ nœ œ bœ
R ≈ R ≈ R ≈ R ≈
. . . .
1 2 3 4
œ5 œ bœ
5 6 7 8 6 7 8
?P0 b œ . œ #n œœ . # œ P0‰ nœ
1 2 3 4
œ œ œ œ #œ œ ‰
‰ œ ‰ #œ
bœ œ bœ nœ
212
b œ
176
& 9œ n œ 10 11œ b œ 12
R ≈ R ≈ R ≈ R ≈ 1
.
9 10 11 12
34.5.2:. Two . examples . of tetrachords from a row presented contra-
2 3 4
Figure
œ5 œ6 7
178
& bœ.
puntally5 6 7 8 8
? œ nœ. #œ ‰ œ #œ œ ‰
bœ nœ
#œ
? with P0 containing the melody and R0 occurring as chords.
In the
texture,
9 final example
10 11 in this section,
12 the two rows are presenting in melody–accompaniment
9 10 11 12
>4œ œ œ œ œ. b œ b œ
P0 1 2 3 5 6 7 8 9 10 11 12
& œ . n œ.
178
œ #œ #œ n œ. # œ
# œ- >
202
& . œœ. 7 .œ 12
? Œ œ 3 # # œœœ 54 ‰
R0 œ 1 2
œ 8 9 ‰ b b œœ 10 ‰
Œ J
J6 J 11
?
An analyst would first attempt to find a clear presentation of a twelve–tone
row somewhere in the composition in order to analyze harmonies.
180
&
209
&
34.6 Non–Twelve–Tone Serialism
? also includes music that is not twelve–tone but does use a series of
Serialism
? inversion of the series. An example is found in Stravinsky’s Septet from

notes that maintains its order and employs inversion, retrograde, and retro-
grade
209
&
1953.1
64
œ œ. œ #œ œ bœ bœ nœ
œ bœ œ œ bœ bœ œ nœ œ œbœ bœ nœ
R8 4 RI
œ bœ
&YouTube: https://www.youtube.com/watch?v=ijSmRoPzMaY
64
3
Figure 34.6.1: Stravinsky, Septet
œ œ. œ #œ œ œ bœ bœ bœ nœ œ bœ
3
bœ nœ
R RI4
bœ nœ
œ œ bœ œ œ œbœ
1 82 3 4 5 6 7 8 9 10 11 12
&
1 2 3 4 5 6 7 8 9 10 11 12
1 2 3 4 5 6 7 #8œ 9 10 11 12
œ #œ
3
# œ
P4
&œ œ
3
œ #œ 1 n œ 2 3 4# œ 5 6 7 8œ 9 10 #11œ 12
64
œ nœ nœ œ
œ œ # œ œ œ b œ b #œœb œ#nœœ œ œb œ # œ b œ œ n œ œ œ b œ b œ n œ
P4 œ .
R8 RI4
& œ œ Figure œ b œ# œ Septet

n œ œStravinsky’s
œ # œ34.6.2: Series from œ #œ
P4
3
œ n œ n œ œ
œ # œ # œ Arrows n œ10 #11œ 12œ
3
œ œ registral
& without œ œ #displacement. œ1 n œ 2 #connect n6œ 7 8œ 9notes.
3 4# œ 5 repeated
1 2 is the
Here 3 4series
5 6 with
7 pitch-class
8 9 10 11integers
12 (abbreviated “pc” for pitch class),
and œ
pc: PP
4 11
#œ
9
œ 7
8 1 11 7 6
# œ
6 8 7 9 0 8 9
& œ œ œ œ #œ #œ #œ œ nœ #œ #œ nœ œ nœ #œ œ
04
œ
œ nœ œ nœ #œ œ
& œ4 11 # œ9 7 œ6 8 # œ1 11 œ7 6 8 7 9 0 8 9
pc:
[ 4, 6, 7, 8, 9, 11, 0, 1]
34.6.3: Series from Stravinsky’s Septet showing œrepeated # œpitches

& œ0 œ # œ
P
œ ## œœ œ œ œ
œ0, n œ #1œ4] œ
Figure
& [œ
&We œ œ # œ7, # œ 8,
4, notice 6,
n œ9, (9),
# œ G#11,œ(7),n œF4 (6),
that B (pitch integer 11), A and G (8) are
repeated
pc: 4 11 in the9 series,
7 with
6 A,
8 G,1 and11G4 7occurring
6 8 three
7 times
9 each.
0 8Below
9 is
the normal form of the 8 pitch classes in the 16–note series.
&
&œ œ #œ œ œ œ #œ
#œ
[ 4, 6, 7, 8, 9, 11, 0, 1]
Figure 34.6.4: Normal form of the 8 pitches in the series from Stravinsky’s
&
Septet
Such a series could imply E or A as a tonal center. Note that Stravinsky’s

Septet is not strictly serial but contains serial elements. Such an example
shows us that serialism can be employed in ways other than the strict, original
twelve–tone version.
1 See Erwin Stein, “Strawinsky’s Septet (1953).” Tempo. Spring, 1954.
61
bœ nœ œ nœ œ bœ œ œ bœ bœ œ
œ #œ #œ nœ nœ bœ bœ nœ œ
P0
b œ
R
œ b œ n œ
0
&
œ œ #œ #œ nœ
I0 RI0
& œ nœ #œ nœ œ bœ bœ nœ œ #œ #œ œ bœ bœ œ œ #œ nœ nœ
I9 (begins on pitch class 9)
& œ #œ #œ nœ œ nœ œ #œ œ #œ #œ #œ
œ #One
œ #œ nœ œ bœ bœ œ bœ nœ nœ nœ
RI5 (ends on pitch class 5)
& the prime form of the twelve–tone row in pitch integers, write
Serialism: Day
1. Given
the specified row forms in the staves below.
52
52
P7: 7 107( 85) 2 1 5 3 4 6 0 9 11 R
E¯7(˜˜5);; Scale:
1. 7
1. E¯ Scale: ____________________________
____________________________
& &
I7 RI7
& ?
7˜9
2.
2. B¯ ˜9;; Scale:
B¯7¯5 Scale: ____________________________
____________________________
¯5
52
52
(a) P11.
3.
1. Fm
3. E¯ ˜˜55));; ;;Scale:
7(7(¯5)
Fm7(7(¯5) Scale: ____________________________
Scale:____________________________
____________________________
& &
E¯ Scale: ____________________________
&
& ?4.4.4 A¯
7˜9
(b) R2.
2. B¯ ˜9;; 5)
B¯7Δ7( Scale:
Scale: ____________________________
¯5 ˜˜5);; Scale:
¯5 ____________________________
Scale: ____________________________
?
A¯Δ7( ____________________________
(c) I83. Fm 7(¯5)

5) ;; Scale:
7(¯5) Scale: ____________________________
E¯7(˜˜5);; Scale:
&
3.
1. Fm7( ____________________________
E¯
E¯ Whole
Whole Tone
1. E¯ Scale: ____________________________
bœ
Tone
____________________________
& œ ˙ b˙
& b˙ œ ˙
Root 3rd
3rd
˜5th ¯7th
¯7th
Root
(d) RI4.10A¯7Δ7( ˜5th
˜˜99;;˜˜5)
bœ
5); Scale: ____________________________
Diminished-Whole Tone
? b˙
2. A¯7Δ7(
4. B¯ ; Scale:
Scale: B¯ Diminished-Whole Tone
____________________________
____________________________
? b˙ #œ
B¯
˙
2. B¯ ¯5 Scale: ____________________________
b˙ n˙
¯5
bœ
Root
¯5th ¯7th
¯7th
˜˜9th
Root
9th 3rd
3rd ¯5th w
w w
1.
1. E¯
7(˜55)) h
E¯ ˜ ;;hScale:
w
E¯ Whole Tone w w
____________________________
w
w
bœ
7( E¯ Whole hTone w w
Scale: ____________________________
b˙
h
2) ˙
&3.3. Fm
b˙
F
F Locrian
Locrian (or
œ
˙ b ˙(or FœLocrian
œ ____________________________
F Locrian ˜˜2)
b˙ bœ b˙ œ
7(¯5)
Fm7(¯5);; Scale:
Scale: ____________________________
bœ
& Root˙Rootb œ b ˙ b œ b ˙ 3rd3rd ˙ œ˜˜5th5th
b ˙ b œ¯7th
¯7th
bœ
7˜9 Diminished-Wholeand Tone
b˙
2.
2. B¯ ˜9;; Scale: B¯
(whole Diminished-Whole
B¯step between
between E¯
E¯ and Tone
F
F and
____________________________ and between
between A¯
A¯ and
and B¯
? b˙ #œ
B¯7¯5
˙
(whole
Scale: step
____________________________ B¯
b˙ n˙
¯5
bœ permit
permit whole step or half step between F and G)
whole step or half step between F and G)
bœ
Δ7(˜5); Scale: ____________________________
˙
Δ7( 5) A¯
A¯ Lydian-Augmented
Root ˜ ; Scale: ____________________________ ¯7th
? œ w ˙ w œ
4.
4. A¯
Root
A¯ Lydian-Augmented ¯7th
˜˜9th 3rd ¯5th
¯5th
9th 3rd w w
w
w w
&
bIIœ88 œ œ
I8
& bb œœ œœ œœ ## œœ œ bœ nœ nœ œ # œ ## œœ œ
œœ
RI&
œœ b œ n œ n œ œœ ## œœ # œ
10 EXERCISES # œ bœ nœ nœ
?b œ& b œ œ œ bœ nœ nœ bœ
475
œ nœ
34.7. PRACTICE
œ #œ
b œ 10 b œ n œ bb œœ
œ nn œœbelow.
RI
? b œ 10 bofœ theœpermutations
Given the RIprime form of a twelve–tone row, label the row forms and
n œ on œthe bstaves
10
œ # œ œgiven
2.
? œœ nœ
œœ bb œœ n œ n œ b œ
? bœ bœ œœ n œ
RI
œœ ## œœ
transpositions
nœ
bœ nœ œ bœ œ nœ
bœ nœ #œ
P10
& bœ œ œ
bœ nœ œ bœ œ nœ
part 2 PRAC EXER
œœ b œ b œ n œ ## œœ
P10
& bb œœ bb œœ nn œœ
P10
œ œ œœ n œ
part 2 PRAC EXER
&
P10
œœ œœ b œ bb œœ nn œœ # œ nœ
& bœ
part 2 PRAC EXER
part 2 PRAC EXER
œ
(a) Row form:
& #œ œ œ #œ #œ œ bœ
œ nœ œ œ #œ nœ bœ
& #œ œ œ #œ #œ
RI10
& œ nn œœ œœ œœ œœ # œ ## œœ œœ # œ n œ bb œœ
& ## œœ œœ n œ ## œœ nn œœ
RI10
#œ
RI10
RI10
bœ nœ #œ œ bœ
nœœ #œ nœ
(b) Row form:
& œ
& b œœ œ# œ # œ # œ ## œœ
b
œœ œ nn œœ
œ
œœ bb œœ œœ nœ
I1
& bœ œœ œœ œœ # œ # œ # œ nn œœ
#œ #œ bœ œ
I1
I1
I1 &
& œ & œœ bœœ b bœœ b œb œ b œb œ b œ œ œœ n œ n œ n œn œ œ œœ b œbb œœ œœ

(c) Row form:
œ œ bœ bœ
R5
& œ œ b œ bb œœ bb œœ b œ œ nn œœ nn œœ œ b œ œœ
&
R5
R5
R5
& &
&
&
Serialism: Day Two

3. Construct a 12 by 12 matrix for the prime form of this twelve–tone

row given in pitch integers: 3, 7, 11, 1, 5, 0, 2, 10, 6, 4, 8, 9. Include
labels for all row forms including all transposition levels (P0 , R3 , I8 ,
RI6 , etc.). Use note names in the matrix, not integers.
I ↓ I ↓ I ↓ I ↓ I ↓ I ↓ I ↓ I ↓ I ↓ I ↓
P →
P →
P →
P →
P →
P →
P →
P →
P →
P →
P →
P →
↑RI ↑RI ↑RI ↑RI ↑RI ↑RI ↑RI ↑RI ↑RI ↑RI
Table 34.7.1
4. For the following excerpt, determine P4 and identify each row form
and statement. This example contains overlap. 213
. > œ. . .
# .
œ . œ b œ # œ n œœ b œ.
& c ‰ œ bœ œ #œ
bœ œ nœ nœ œ. bœ œ. bœ œ # œ w
184
p >
# . .
œ >
n œœ # œ . > . b œ . n œ. . w
?c Œ ‰ J œœ n n œœœ b b œœ œœ b œ b œ œ. # œ œ n œ. œ b œ n œ
#œ
5. Referring to the twelve–tone row used to construct the matrix in the

practice
187 exercise above (3, 7, 11, 1, 5, 0, 2, 10, 6, 4, 8, 9), find the
& and provide an interval vector for each.

normal form and prime form for each discrete three–note set from the
row,
? Interval vector:
(a) Set 1: 3, 7, 11. Normal form: Prime form:
(b) Set 2: 1, 5, 0. Normal form: Prime form: Interval

vector:
(c) Set 3: 2, 10, 6. Normal form: Prime form:

Interval vector:
(d) Set 4: 4, 8, 9. Normal form: Prime form: Interval
vector:
Click here to download the second homework assignment for this chap-
ter.
Chapter 35
Minimalism
The rise of minimalism in the 1960s was a significant development in art music.
While four artists are typically associated with minimalism—La Monte Young
(b. 1935), Terry Riley (b. 1935), Phillip Glass (b. 1937), Steve Reich (b.
1936)—we will focus on just two techniques in this chapter. The first, additive
minimalism, is associated with the early minimalist pieces by Philip Glass.
The second, phase shifting, is associated with Steve Reich.
35.1 Additive Minimalism

In Philip Glass’s version of additive minimalism as found at the beginning
of his composition Two Pages (1969), he adds a repetition of a pattern but
subtracts the final note in the repetition. Each addition to the pattern is
another repetition with the final note of the previous repetition subtracted,
as can be seen in the example below. (Note: The music notation below is
a transcription and analysis meant to show the additive process and is not 65
65
necessarily how the music is written in the score.)
Pattern: A A + B
5 ... œ œœ œœ bb œœ œœ ... 855ˆˆ448 ... œ œœ œœ bb œœ œœ œ œœ œœ œœ ...

Pattern: A A + B
& 885
& œ 88 œ œ
(B
(B is
is A
A minus
minus
final note)
final note)
... œ œœ œœ bb œœ œœ œ œœ œœ œœ œ œœ œœ ...
Pattern: A + B + C
55ˆ44ˆ33
Pattern: A + B + C
&
& 88ˆ88ˆ88 œ œ œ
(C is B minus
(C is B minus
final note)
final note)
Pattern: A + B + C + D
.. œ œœ œœ bb œœ œœ œ œœ œœ œœ œ œœ œœ œ œœ ..
5432
& 858ˆˆ488ˆˆ388ˆˆ288
& .œ œ œ œ .
(D
(D is
is C
C minus
minus
final note)
final note)
8
& 448
& 477
bœ œ œ œ œ œ œ ..
Pattern: A + B + C
& 85ˆ48ˆ38 ..
478 œ œ œ œ œCHAPTER 35. MINIMALISM
(C is B minus
final note)
b œ œGlass, Two œ œ (1969)

& 85ˆ48ˆ38ˆ28 .. œFigure
œ œ35.1.1: œ œ œ œ œ ..
YT: emeykTooD9c
œ œ Pages
(D is C minus
final note)
The following example from Music in Fifths (1969) clearly displays additive
process on its own, but is just one of dozens of steps in an additive process.
b b b œ œ œ œ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
b
&bb
YT: 6V1hokSS4TU
Figure 35.1.2: Glass, Music in Fifths (1969)
To hear additive process in Glass’s well–known Einstein on the Beach, listen

to the following minute of music from Act 1, Scene 1, “Train.” Each chord in
a five–chord cadential progression is gradually lengthened by adding to the
number of subdivisions given to each chord.
YT: pRerJeYmUgY
Figure 35.1.3: Glass, Einstein on the Beach
35.2 Phase Shifting

Minimalist composer Steve Reich conceived of phase shifting in his early work
in tape music, noting that tape loops of slightly differing lengths containing the
same idea went slowly out of phase and very gradually back into phase when
they were repeated incessantly (see It’s Gonna Rain from 1965 and Come Out
from 1966). Reich applied this phase–shifting process to live performance in
Piano Phase (1967), Violin Phase (1967), and Clapping Music (1972).
b œ œ œ œ œ œ œ œ œ œ œ 65
& b b œœ œœ œœ œœ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œœ
Pattern: A A + B
b œ œ . 5 ˆ4 . œ œ b œ œ œ .
& 85 .. œ œ œ œ œ œ
35.2. PHASE SHIFTING 479
. 88 .œ .
ã œ œ œ ‰ œ œ ‰ œJ ‰ œ œ ‰ (B is A minus
final note)
5 #4 3 œ bœ œ œ œ
Pattern: A + B + C
œ ..
&&8ˆ8#ˆ843 .. œœ œ œœ œ œ œ œ œ œ œœ œ œœ œ œ
images/video-457.jpg (C is B minus
final note)
5432 œ bœ œ œ œ œ
& 8ˆ8ˆ8ˆ8 .. œ œ œ œ œ œ
YouTube: https://www.youtube.com/watch?v=lzkOFJMI5i8 œ œ ..
Figure 35.2.1: Reich, Clapping Music (1972) (D is C minus
final note)
b b b œ œ œ œ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
Below is the basic twelve–note pattern of Piano Phase along with a video
demonstrating the phase–shifting.
ã œ œ œ ‰ œ œ ‰ œJ ‰ œ œ ‰
# 3 œ œ
& # 4 œœœœ œœœœœ œ
YouTube: https://www.youtube.com/watch?v=57TuvksMR70
Figure 35.2.2: Reich, Piano Phase (1967)
During the phase–shifting process, one can think of the lower voices in the
examples above as going through rotation. The example below shows rotation
of a five–note pattern. The pattern rotates one note to the left, meaning the
second note begins the pattern on the second line, the third note begins the
pattern on the third line, etc., until the first note starts the pattern again to
complete the phase–shifting process.
480 66 CHAPTER 35. MINIMALISM
& 85 œ œ œ œ œ
1 2 3 4 5
& 85 œ œ œ œ
œ rotating pattern one note
2 3 4 5 1 to the right. 2nd note begins
pattern, then the 3rd note begins
& 85 œ œ œ œ
the pattern, until the 1st notestarts the
œ
pattern again to complete the process.
3 4 5 1 2
5 œ œ
&8 œ œ œ
4 5 1 2 3
5
&8 œ œ
œ œ œ
5 1 2 3 4
Figure 35.2.3: Rotation demonstrated with a five–note pattern

&
213
. the œ. similar
. n œœ. the. second goes
. b œ
In a piece of music, the process would play out to the manner
. œ # œ
P4
below, where one bpart # œ
œ œ œ n œ rotating > # œ
‰ œ b œbyœ #continually b œ œ . b œpattern one note
n œ theœ .original b œœ
RI0
out&ofcphase
184
maintains original pattern while
tow the left.
In Pianop Phase, Reich has the second pianist gradually increase in>speed so
1 2 3 4 5 6 7 8 9 10 11 12
# œ. the. next
the patterns go slowly out of phase, while in
2 3Clapping
4 5/6 7Music, Reich
12 has the
w> without
1 8/9 10/11
3 n up.
œ # œ .
musicians change2 to rotation on the downbeat of a measure,
œ . > . b œ . n œ .
P
? J œœ6#5œ n n œœ . #œ œ nœ
œ 8 b b œœ œœ b œ b œ œ
5
n œ. œ b œ
12
c Œ ‰
gradually speeding 4
1 9
10
RI10 7 11
1 23 4 5 6 7 8 9 10 11 12
187
In phase Out of phase In phase
& 85 .. œ œ œ œ œ .. .. œ œ œ œ œ .. .. œ œ œ œ œ .. .. œ œ œ œ œ .. .. œ œ œ œ œ .. œ œ œ œ œ ..
12345 12345 12345 12345 12345 12345
12345 23451 34512 45123 51234 12345
& 85 .. œ œ œ œ œ .. .. œ œ œ œ œ .. .. œ œ œ œ œ .. .. œ œ œ œ œ .. .. œ œ œ œ œ .. œ œ œ œ œ ..
first second third fourth
rotation rotation rotation rotation
Figure 35.2.4: A short phase–shifting process piece

193
&
&
One hears phase shifting in numerous works by Reich, including the second
movement of his Three Movements.
35.3. HOMEWORK ASSIGNMENTS 481
YouTube: https://www.youtube.com/watch?v=XIuJ_my4_-k
Figure 35.2.5: Reich, Three Movements, II.
It is worth mentioning that composers like Stravinsky applied rotation to

serialism, which Joseph Straus details in Chapter 6 of his Introduction to
Post–Tonal Analysis (4th edition).
35.3 Homework Assignments

482 CHAPTER 35. MINIMALISM
Appendix A
Answers to Practice Exercises
1 · Basic Concepts
1.6 · Practice Exercises
1.6.1. Answer. 1. A0, 2. F1, 3. D2, 4. G2, 5. B3, 6. E4, 7. A4, 8. G5, 9.
A6, 10. B7
1.6.2. Answer. 1. E5, 2. D6, 3. F4, 4. G3, 5. A4, 6. E4, 7. G3, 8. A2, 9.
E4, 10. E4, 11. G3, 12. C4
3 4 4 3 5 3 2 5
1.6.3. Answer. 1. G and E ; 2. D and F ; 3. G and B ; 4. G and E
2 · Major Scales and Key Signatures

2 2 2 2 2
2.4.1. Answer. 1. D E F G A B C
4 4 4
2. A B C D E F G
2 2 4
2.4.2. Answer. 1. A ; 2. A; 3. G; 4. E ; 5. F; 6. D; 7. C ;
2 2 4 2 2
8. E; 9. B ; 10. D ; 11. F ; 12. B; 13. C ; 14. G
3 · Minor Scales and Key Signatures

2 4 2
3.4.1. Answer. 1. e ; 2. b; 3. c ; 4. g; 5. f; 6. e; 7. b ;
4 2 4 4 4
8. f ; 9. a ; 10. a ; 11. d; 12. g ; 13. c; 14. d
3.4.4. Answer.
(a) f
2
(b) e
(c) E
2
(d) E
4
(e) a
2
(f) C
4
(g) d
4 · Basics of Rhythm
483
484 APPENDIX A. ANSWERS TO PRACTICE EXERCISES

4.7.1. Answer.
(a) Compound Duple (or Compound Quadruple)

(b) Simple Quadruple (or Simple Duple)
(c) Compound Duple (or a fast Simple Triple)
(d) Compound Triple
(e) Compound Duple (or Compound Quadruple

4.7.2. Answer. a. Time Signature: 12 16 ; Meter: Compound Quadruple
b. Time Signature: 32 ; Meter: Simple Triple
c. Time Signature: 38 ; Meter: Simple Triple
d. Time Signature: 42 ; Meter: Simple Quadruple
4.7.3. Answer. 1. Dotted quarter note
2. Eighth note
3. Dotted eighth note
4. Half note
11
4.7.4. Answer.
Incorrect Correct
Example
3 (œ œ
ã 4 œJ .
œ œ œ œ œ œ œ œ œ œ)
œ œ œœ 34 ( œœ . œ œ œ œ œ œ œ œ œ œ œ)
œ œ. œ œ œ œ
3 (œ œ œ œ œ œ œ œ œ œ œ œ)
3 (œ œ œ œ œ œ œ œ œ œ œ œ)
1. ã4 œ œ œ œœ œœ 4 œ œ œ œ œ œ œ
6 68 ( œœ
œ( œ œ œ œ œ œ œ œ œ œ œ) œ œ œ œ œ œ œ œ œ œ œ)
ã8 œ œ œ œ. œœ œ œ œ œ œ œ œ œ
379
2.
J
6 œ œ œ 68 œ .
( œ œ œ œ œ œ œ œ œ œ œ) (œ œ œ œ œ œ œ œ œ œ œ œ)
ã8 ˙ œ œ œ œ
381
3.
5 · IntervalsEx. D_____
ø7/C
? ?
1. ____ 2. ____ 3. ____
& ˜˜˜˜
383
5.6.1. Answer. 1. 6, 2. 4, 3. 2, 4. 8, 5. 7
&
5.6.2. Answer.Ex. 1.
E: ii/3rd 1. f: V4. P5, 5. m7,
m6, 2. M3, 3. M2, 2. D:6.IV/5th
+4 3. b¯:viiº
? & 1. G4 , 2. A4 , ?
1. ____ 2.2 ____ 2 4 3. ____4 2 24. ____
387
5.6.3. Answer. Upper notes: 1. D , 2. G , 3. A , 4. B , 5. F , 6. F
3. F, 4. G , 5. F&, 6. B
2 4 2
5.6.4. Answer. Lower notes:
1. g: III 3. A¯: ii
2. A: vi 4. b: iiº
6 · Triads
6.6 · Practice Exercises 6. ____
? 2 ? 2
391 5. ____ 7. ____ 8. ____
6.6.1. Answer. 1. A , 2. &Fsus4, 3. B + , 4. D , 5. Esus2 &

4◦
5.1. º/3rd
e: viiBDF
4 4 4 2 2 2 C˜: IV
4 4 4
6.6.2. Answer. , 2. EG 6.Bd:,VII
3. A B E , 7.
4. C E G , 5. 8.DGA,
G: I/5th 6.
2 2
FA C
#### w
4◦. 4 2.
# # www # w
1./C Dm/F_____
, 2. Gm/D , 3. A C , 4. F/A , 5. B F , 6.
b b b # www
6.6.3. Answer. D_____
ø7
b # www
_____ _____ _____ _____
& b b www www www

395
w w
Cm/G
w w
Ex. E¯:____
viiø7/ 7th 1. g: _____ 2. D: _____ 3. c˜: _____ 4. G: _____ 5. d: _____
485
4 2 2 2
6.6.4. Answer. (lowest to highest) 1. DGB, 2. DF B, 3. FA D , 4. B EG
4 4 4 2 2 2 2
6.6.5. Answer. 1. F A C , 2. GB D, 3. A C E
7 · Roman Numerals and Cadences

4 4 . 4
7.5.1. Answer. 1. F m , ii ; 2. D ◦ F , ii◦ /3rd ; 3. A , VII ; 4. G , V ; 5.
. 4
Bm F , ii/5th
6 6 2
7.5.2. Answer. 1. C , CE G; 2. G/D , DGB; 3. A◦ , A CE
7.5.3. Answer. a. “Columbia, the Gem of the Ocean”: 1. G , I ; 2. D , V ;

3. G , I ; 4. C , IV ; 5. G , I ; 6. D , V ; Cadence type = Half Cadence (HC)
b. “Could You Be Loved”: 1. D , I ; 2. Bm , vi ; 3. G , IV ; 4. D , I ; Cadence
type = Plagal Cadence (PC)
8 · Seventh Chords
8.4.1. Answer. 1. D7 , V7
2. G∆7 , IVM 7
4
3. D ø7, iiø 7
4. Bm7 .D , iii7 3rd
4
5. C ◦7 E , vii◦ 7 3rd

8.4.2. Answer. 1. Bm7, B-D-F4-A

2. Aø 7 , A-C-E2-G
4
3. C ø7 , C4-E-G-B
4. G7 , G-B6-D-F
5. Emaj 7 /G4, G4-B-D4-E
2 2 2
8.4.3. Answer. a. “No Scrubs”: 1. D m7 , iv7 ; 2. A m , i ; 3. E 7 , V7 ; 4.
2
A m, i
b. Mozart: 1. C , I ; 2. G7 D , V7 5th ; 3. C , I ; 4. F/C , IV/5th ; 5. C , I ;

6. G7 B , V7 3rd ; 7. C , I ; Cadence type: Authentic Cadence (AC)

9 · Harmonic Progression and Harmonic Function

Day One
9.9.1. Answer. In F major:
1. F-A-C
2. IV = B2-D-F
3. viiº = E-G-B2
4. iii = A-C-E 17
5. vi = D-F-A
6. ii = G-B2-D
7. V = C-E-G
b #### bb ## bbb
&
558
8. F-A-C
In B minor:
1. B-D-F4
2. iv = E-G-B
4. IIIb b =b D-F4-A # ### bbbbb

563
3. VII = A-C4-E
& b b
5. VI = G-B-D
6. iiº = C4-E-G
7. V = F4-A4-C4
w w www
? # # #Answer. 3, 2. bA4, 3. w
568
w ? # w6. G
8. B-D-F4
9.9.2. # w
w 1. A
&b b D,
w 4. C 4, 5. G,
& b # www
9.9.3. Answer. 1. 4 flats in key signature, iv, B2-D2-F
2. 3 sharps1.inE:key
IV6 signature, IV,2. D-Fc: iiø4-A
4
3. G: V56 4. d: viio6
3. 3 flats in key signature, iiº, F-A2-D3
4. 4 sharps in key signature, vi, C4-E-G4
572 5. 2 flats in signature,
Incorrect viiº7, F -A-C-E
4 2
Correct
6. (5œ sharps
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ)
in key signature, V7/5th, C 4-E-F4-A4
7. 1œ flatœ in key œsignature,
. œ œ i/3rd,œ œF-A-D
) (
ã
8. 1J flat in key Jsignature,
R iii, J
A-C-E
9.9.4. Answer.
574
Incorrect Correct
(œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ )(œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ )
ãœ œœ œœ œ œ. œœ œ œœ œœœ œ œ œ œœ
≈ ≈
ãb
576
9.9.5. Answer. HC = V
DC = V-vi
PC = IV-I
AC = V-I
FUNCTION: _____ _____ _____ _____ _____ _____
Cadence: _______
487
? b 4
479 _____ _____ _____ _____ _____ _____
b 4
9.9.6. Answer. www
In F major: In E major:
g: i VI iv iiø7/3rd V7 i
1. F, I 1. C4m, vi
FUNCTION: _____ 2. _____
Dm, vi _____ 2. A,_____
IV _____ _____
3. Gm/B2, ii/3rd 3. E, I Cadence: _______

4. C, V 4. B,_____
V
b
& b b 44
_____ _____ _____ _____ _____
www
485
E¯≤: I IV ii7/3rd I/5th V vi
FUNCTION: _____ _____ _____ _____ _____ _____
Cadence: _______
9.9.7. Answer.
www
F˜m
#
D Bm7 Em 7/G A D
wwww www
& # 44
_____ _____ _____ _____ _____ _____
www ww w www
491
w
D: I iii vi7 ii7/3rd V I
FUNCTION:
ton.
_____ ton. prol.
_____ ton. prol.
_____ pre-dom.
_____ dom.
_____ ton.
_____
AC
Cadence: _______
b
& b· bNon–Chord Tones
497
10
Non–Chord Tone Type Approached by Left by
bbb
503
&
RETARDATION same tone step up
10.13.1. Answer. ESCAPE TONE STEP leap in opposite direction
PASSING TONE step step in same direction
APPOGGIATURA leap STEP
2 2
10.13.2. Answer. Lead–sheet: B , Dm, E , F
Rom. num.: I, iii, IV, V
10.13.3. Answer. a. “Stop! In the Name of Love” example
Lead–sheet symbols: Am, G/B, F, G
Roman numerals: vi, V/3rd, IV IVM7, V
Measure 2: 7–6 suspension in voice part and in right hand of piano, appog-
giatura in left hand of piano
Measure 3: 9–8 suspension (or incomplete neighbor) in voice part and right
hand of piano
Measure 4: 6–5 suspension in voice and right hand of piano
b. Robert Schumann example
Pickup measure: appoggiatura in right hand of piano;
Measure 1: appoggiatura in left hand of piano; 7–6 suspension, appoggiatura
in right hand of piano; Roman numeral: iv/3rd
Measure 2: appoggiatura in right hand; Roman numeral: V7
Measure 3: anticipation, appoggiatura in voice part; appoggiatura in right
hand; Roman numeral: ii/3rd, V7, Lead–sheet symbol: E7
Measure 4: 4–3 suspension; appoggiatura in right hand; Roman numeral: I,
Lead–sheet symbol: A
12 · Form in Popular Music

12.6.1. Answer. She’s Out of My Life:
• 0:00–0:40, Introduction, approx. 4 bars of keyboard
• 0:40–1:25, A, 12 bars
• 1:25–2:05, A, 11 bars
• 2:05–2:35, B, 8 bars
• 2:35–3:33, A, 13 bars
Penny Lane:
• 0:00–0:20, Verse 1, 8 bars
• 0:20–0:38, Verse 2, 8 bars
• 0:38–0:54, Chorus, 8 bars

• 0:54–1:11, Verse 3, 8 bars
• 1:11–1:28, Trumpet Solo on Verse progression, 8 bars
• 1:28–1:45, Chorus, 8 bars
• 1:45–2:02, Verse 4, 8 bars

• 2:02–2:19, Verse 5, 8 bars
• 2:19–2:36, Chorus, 8 bars
• 2:36–3:02, Chorus a whole step higher, 9 bars

13 · Phrases in Combination
13.9.1. Answer. Mozart, The Magic Flute, “Ein Mädchen oder Weibchen”:
• Chords: I – V , V – I
• Cadences: HC, PAC
• No Sentences
• Melodic labels: a, b
• Form: contrasting period
Mozart, Piano Sonata K. 333, I:
• Chords: vii◦ – I , vi – V , vii◦ – I , V – I

• Cadences: IAC, HC, IAC, PAC
• The 2nd phrase is a sentence
• Melodic labels: a, b, a, b’
• Form: parallel double period
16 · Figured Bass
489

16.6.1. Answer.
• Lead–sheet: 1. C/G ; 2. B◦ /D ; 3. Dm/F ; 4. G 17
• Figured bass: 1. I64 ; 2. vii◦ 6 ; 3. ii64 ; 4. V
#### ##
b b b ; 3.
&• Lead–sheet: 1. Em7/G ; 2. G7/F b b
b
558 16.6.2. Answer.
Cmaj7/G ; 4. Fmaj7
• Figured bass: 1. iii65 ; 2. V42 ; 3. IM43 ; 4. IVM7
bb # ###
bbbbb
563 16.6.3. Answer.
&bb b
. 4
• Lead–sheet: 1. D◦ /F ; 2. A◦ 7 G ; 3. Eø 7 ; 4. Dmaj7 F

• Figured bass: 1. ii◦ 6 ; 2. vii◦ 42 ; 3. viiø 7 ; 4. IM65
ww www
wwww
16.6.4. Answer.
? #### b
568
?# w
w &b b & b # www
1. E: IV6 2. c: iiø43 3. G: V56 4. d: viio6
?& 44 ˙˙F/A
66 C Am7 Dm7 G
˙˙ ˙˙
910 16.6.5. Answer.
˙˙
572
b ˙ ˙ ˙ ˙
G 7/B C Dm 7/F G C
Lead-sheet: ____ ____ ____ ____ ____ ____
& 4444 ˙œœ

64 882
?
œ ˙œ(œ ) œ ˙œ ˙ œ ˙ ww
? b ton.
591 C: I vi7 ii7 V
? 44 œ œ œœ œ œ
9-8 susp.
œ w
FUNCTION: ton. prol. pre-dom. dom.
Cœ œ œ D7 œ
( )
w
& 44 ˙˙
A7 G
n # ˙˙ ˙˙
912
˙
IV 6 V 6 # ˙˙˙I ii56 ˙
V ˙ I
? 44 ˙
C: ____ ____ 5 ____ ____ ____ ____
˙Chords
17 ____ ____ ˙Dominant
· Secondary ˙ ____ ____
b 4
884 Lead-sheet: ____ ____ ____ ____ ____ ____
& C:b ·b IPractice

4
FUNCTION: ton. œ
17.7 œœ Vton. œœprol. œœ œVpre-dom.
Exercises œ œ ˙œ (œdom. )œ œ œœ
7 /ii 7 /V V
17.7.1. Answer. œ
# j œ # # # #œ # wœ b b bœ œ
7/D˜ G˜7/F˜
# œ b
B D E¯ 7/B¯ A/E A¯7
? b#b 44ww œ b # wwwœœ ( œ)b (œœb ). b œwww

____ ____ ____ ________ ____
œ œœ wwœœ œ œ ww œœ b (b www) œ
914 Lead-sheet:
&
b w œ
? ## # w b w bb w # # ww # # # # w b b b w
E¯: ____ ____ ____b b
____ ____ ____ ____ ____ ____ ____
V56/iv1 F: _____
b: _____ 2
V/vi V43/VI 4 G: _____
c:3 _____ V564/V 6 V24/vi
7 _____
E: 8 9f: V 7/VI10
_____
4
& 4 ‰ ‰ œœj
7
‰ j ‰ j ‰ j
887
1 C 2 D
3 4 F 5 C 6
˙˙ .. œ ˙˙˙˙ ... .
# œœœ n œœœ ˙˙˙ ..
œ ˙. œœ ˙˙
> > . > œ ˙
>
? 44 j œ ˙ ‰ œj œ ‰ j ‰ j
œ œœ œ œœ ˙ œ œœ
œ. œ. > ˙ œ œœ ˙ ˙
. . œ ˙ œ. œ. >œ ˙ œ. œ. œ ˙
> >
C: I V7/V IV I
. > . .
j .
œ œœœ œœœ. œ. >œ œ
b b 4 œ ‰ œœ ≈ œœ œœ œ œ œ
892
œ œ ‰
& ww ww ww ww www www www
w w ww w w
C: I I6 4 I6 3 2 vi7
71 vi65 vi4 vi4
# # Answer. U
C: I ____ I/3rd
____ I/5th
____ 7
vi____ vi7/3rd____ vi____
____ 7/5th vi7/7th
____
4 œœ œ œœ
993
& 4 ____ œœ œ œœ œ w
17.7.2.
#œ nœ nœ w
( ) ( ) 7
˜/A˜
( )
b www
C E¯7 ( ) E /D F____
# wwww
____ ____
? b nœwww b œb w # ## # w
579
?b #b# 44 œ œœ œ #wwww
œ (œ) n œ # (œœ ) œ 4 œœ #(œœ )
1. E¯: V/ii 2. g: V7/VI 3. e: V 2/iv u6/ii
4. A: V
Ce: ____ ____

____ ____ A7 ____ ____
____ ____
D7 ____ ____
˙
E7 Am Dm G
˙ # ˙˙˙ œ ˙˙˙ œ œ# ˙˙˙˙˙
____ ____ ____ ____ ____
?&44b b b˙˙˙ ˙
˙ œ . # œ ˙ œ ww
œ ˙ wwœ ˙
œ œ œ œ œ œ˙ œ œ œ # ˙˙ J ˙˙
583 995
?C: ____
bb I V7/____vi vi ii
V7/____ ii V7/____ V V
b
____ ____ ____
CAnswer. C7 F E7 Am D7 G
˙ ˙˙ ˙˙ ˙
17.7.3.____ ____ ____ ____ ____ ____ ____
? 44 b ˙˙˙ 4 Cm b ˙˙˙˙ ˙˙
˙ # ˙˙ ˙ œ œ#œ˙˙˙˙
D7/F˜ ww
ww
587 Fm G
& b b 4 œ œ œ œ œ œ œ˙ œ œ œ œ œ . # œJ ˙ œ ˙
999
œœ œVœœ 7/____
œœV œœœ ____ œ œ œ œ
? b 4 œœ œœ œœ œœ œ œ œ œœœ
œ œ œ œ œ
œ œ
œ œ
œ n œ œ
# œ œ œ œ œœ œœ œœ œœ n
C: ____ I V7/____IV IV
____ V7/____vi vi
____ V
bb 4
Rom. num.:
i
_____ iv
_____ V56/V
_____ V
_____ 29
# #C ww w
ww www www
572
Am7 Am7/C Am7/E Am7/G
&& ww
C/E C/G
w w ww www w
w ww w
? C:# # I I6 I64 vi7 vi65 vi43 vi42
? b
591 C: I I/3rd I/5th vi7 vi7/3rd vi7/5th vi7/7th
bb
˜/A˜
b www
C E¯7 7/D
E____ F____
# wwww
____ ____
? b n www bb w # ## w
579
bb # ww
1. E¯: V/ii 2. g: V7/VI 3. e: V42/iv 4. A: V6/ii
17.7.4. Answer.
# ˙˙˙˙
C E7 Am A7 Dm D7 G
˙˙ ˙˙
# ˙˙˙˙
____ ____ ____ ____ ____ ____ ____
ww
? 44 ˙˙ ˙˙ # ˙˙˙˙ ˙˙ ww
583
˙˙
I
C: ____ vi
V7/____ vi
____ ii
V7/____ ii
____ V
V7/____ V
____
C C7 F E7 Am D7 G
˙˙ # ˙˙˙˙ ˙˙ # ˙˙˙˙
____ ____ ____ ____ ____ ____ ____
? 44 ˙˙ b ˙˙˙ ˙˙ ˙˙ ww
˙ ˙˙ ww
587
I
C: ____ IV
V7/____ IV
____ vi
V7/____ vi
____ V
V7/____ V
____
œœ œœ œœ œœ n œœœ œœœ œœœ œœœ n œœœ œœœ œœœ œœœ
? b b c œœœ œœœ œœœ œœœ œ œ œ œ # œ œ œ œ
b
29
ww w
& wwAnswer. www www www
572
C i C/E C/G Am7 V6/VAm7/C Am7V/E Am7/G 491
w ww www
iv
w
Rom. num.: _____ _____ _____
5 _____
17.7.5. w ww w
œ .œ œ .œ œ œ . 4 j œ . œ œvi. 5œ œ vi3
F Dm G7/B C4
œ œ œ
C: I I I 6 6 vi7 6 vi2 4
& C: œ
b cI ‰ J I/3rdœ œ œ œœœ
I/5th vi7‰ J vi7/3rd
œ œ œ . œ œ . vi7œ/7th
n œ vi‰ 7J/5th œ
œ____
œCœ œ œ œ
? b c ‰ œœ œœ œœ ‰ œœ œœ œœ ‰ œœœ œœœ œœœ b‰wœœœ œœœ œœœ ‰n œœœœ œœœœ œœœœ ‰œœœœ œœœœ œœœœ ‰ œœœ œœœ œœœ ‰ œœœ
F˜/A˜
mot.1 mot. 2 mot. 2 aug. mot. 1 mot. 2 1 inv. 2. inv
œœœ____
œœœ
E¯7 7/D
E____
www # wwww
____
? b Jn www J b # ## # w
579
bb b # ww
# #1. E¯: V/ii
975
& c ww
I vi V7/V V
ww
F: _____ _____ _____ _____
70 2. g: V 7/VI 3. e: V42/iv 4. A: V6/ii
# ww A7 Chords
M3
m3
? # ____
18 · Secondary # w Diminished m3
# c w ˙˙
C E 7 Am Dm D7 G
? 44 ·˙˙˙˙Practice ˙˙ # ˙˙˙˙
____ ____ ____ ____ ____ ____
# ˙˙ Exercises
˙ ˙˙˙ ˙˙ ww
# ww
583
18.5
18.5.1. Answer.
D: _____? ˙ ˙ ˙˙
õ7 õ/E____ ‹o7____
# # # # ‹ ww b b
C: ____ IA vi
V7/____ vi G V/F ii
7/____ iio7/B¯ V7/____
____ V F____/EV
# w
C____ ø7 E o7/C
A____
b b n # www b b b b ww b b b b b n ww
Lead-sheet: ____ ____ ____
& # ww # w b b n ww
977
C7
w
E7
n ww
C F Am D 7 G
#w ˙ # # #˙˙˙# w ww b b b b ww
??44# # ˙˙˙˙ ˙
____ ____ ____ ____ ____ ____ ____
w
b bb ˙˙˙˙ n w ˙˙˙b b b # ˙˙˙ b b b b b ˙˙ ˙ ww b
587
˙ ˙
˜: _____
o7/vi o6 ø4 o4
viio42 /V A¯: _____
viio65 /ii
D: vii
_____
I
vii /V E¯: _____
g: IV
_____ IV
vii 2 /IV D¯: _____
vi
vii 3/iii
vi cV V
C: ____ V7/____ ____ V7/____ ____ V7/____ ____
1 2 3 4 5 6
591
18.5.2. Answer.
õ7/A ˜ø7/C õ7/A
w
Eo7 F____ F____ B____
? b b b _____ n www _____b ww # # _____

____
# ww_____
w # w_____
w # b# # n # wwww
b # b b bn w # #
& b b ww # w b w # n ww b b b n ww
983
w 2. c: vii#o65w/V
1. A¯: viio7/vi
w w
3. e: viiø43/III
w
4. B: viio42/ii
595? # w # n w # # b w
? b bb bAnswer.
w w bb n w # w. bbbb
b
18.5.3.
2 4 4
• Lead–sheet: 1. F ; 2. Am ; 3. B ; 4. F ◦7 ; 5. D F ; 6. Gm
1. d: _____ 2. e: _____ 3. B¯: _____ 4. f ˜: _____ 5. A¯: _____
• Figured bass: 1. I ; 2. iii ; 3. IV ; 4. vii◦ 7 ii ; 5. V6 ii ; 6. ii

? ·b Mode
bb b # ## w ####
b b b b b b b n www b b n ww
988 600 _____ _____ _____ _____ _____
&b bb b ww #
19 Mixture
#w # n ww
nw
#w w #w
? b b Answer. # # # # ww # # # # bb w
31
b b o7n w o7 #
w ø7b b b b b b
19.6.1.
˜ /B¯
C____ C¯ ˜ /G
A____ ˜ /G
C____ E¯m/G¯ D/F˜
www b b 7.b bcwww˜: _____ #
____ ____ ____
? # # b6.wf:_____ # ww 8. #B:_____
# ww # # # n wwww b b b www b b b # n www
628
bb 9. e¯:_____ 10. g:_____
viio42
D: ____ ¯III
A¯: ____ viio42/iii
G: ____ iiø43
B: ____ iv6
B¯: ____ c: V
6/V
____
1 2 3 4 5 6
# # b wwww bb b b www # # # # wwww w

____ ____ ____ ____ ____ ____
? # # # # n ww b ww bb b ww
634
ww b ww
E: ____ F: ____ D: ____ E¯: ____ A: ____ B¯: ____
1 2 3 4 5 6
### nw
& n ww
492 A: ¯VI APPENDIX A. ANSWERS TO PRACTICE EXERCISES
616
19.6.2. Answer.
õ7/F
### # nw ww #
Dm G 7/D B¯ ø7/B¯
G____ G D¯
b b b b n www # b ww w b
____ ____ ____ ____ ____
& n www b b ww n # www b b b www

nw
A: iv f: V34/V D: ¯VI F: iiø65 e: viio42/iv B¯: ¯III
###
622
b ## bb bbbb #
____ ____ ____ ____ ____ ____
&bb
19.6.3. Answer.
E¯
__________ Do7/E¯ ped
__________ E¯
__________ E¯(maj7)/D
__________
b 12
¯VII7
œ. œ œ ( œ) ( œ . )
A: ¯III g: viio7/V
œ
E¯: 6
b: V5/iv A¯: iiø43 G: iio6
& b b 8 œJ œ
74
nt J
œ œœœ ped pt œœ b œœœ
pt
œ œœœ œ œœœ
espress. dolce
? b b 12 œ .
(œ )
œ œ
b 8 ‰ œ. œ.
* œ.
°
° * ° * ° *
I
E¯: __________ viio7/I ped
__________ I
__________ IM42
__________
C7
__________ C7
___________ Eo7/F ped
____________ Fm
___________
œ Tbn œ œ bœ. œ.
& bbb œ J
J
œo7/G œ
Cõ7/B¯ C¯ n œ A˜œ
œ¯III œ œ
œ
C˜ø7œ b œ œœœ6
œ/G pediiø4ptE¯m/G¯ D/F˜ œVœ6/V œœœ
?viibo4b2 œ iv
31
b . œ.
viio4/iii
œ œ
2 3
œ *
? # # b wwww b b b *b b www ° # # ww # # ° # # ww *b
____ ____ ____ ( ) ____ ____ ____
w b *
b ww b b # n www
°
628
° b # ww # n ww b
D: ____V7/ii A¯: _______________
__________ V7/iiG: ____ o7/ii
____________
viiB: ___________
ii
____ B¯: ____ c: ____
1 2 3 4 5 6
& 44 w w
w
# # www b b www # # # # wwww b b www
b w
____ ____ ____ ____ ____ ____
? # # # # wwn ww
20 · The ____Neapolitan Chord
w
Lead-sheet: ____ ____ ____
b w
634
ww b ww bb b
20.3 · Practice
Rom. num.: Exercises
? 4 E:Tonic
____ ____ ____ ____
4 w1 5w
Function: ____ F: ____Mode D: ____
mixture E¯:Tonic
____ A: ____ B¯: ____
__________
20.3.1.
L.S.: ____Answer. 2
____ ¯6) ____ 4
(with 3 ____ 6
D/F˜
bw
D¯/F A¯/E¯ Co/E¯ Ao/C C
w
____ ____ ____ ____ ____ ____
?&b bwww ww # b ww bb b ww #w#ww# # n ww b wwwww # # n www

640
b bw ww b w
?
N6
c: ____ N64
G: ____ iio6
B¯: ____ c˜: ____
N6 viio6/VI
d: ____ N
b: ____
w 1 2 3 w 4 5w 6
# # b # b # www b b ww
w
R.N.: ____ ____ ____ ____ ____ ____ ____
& # # # www b b b Secondary of Vw

____ ____ ____
b b b www # b__________
# www __________
646
Func.:__________
b ww n
w w
f˜: ____ f: ____ e: ____ B¯: ____ D: ____ d: ____
1 2 3 4 5 6
____ ____ ____ ____ ____ ____
____ ____ ____ ____ ____
?
694
493
20.3.2. Answer.
F¯/A¯
____ B¯
____ F
____ Fõ7
____ Cø7/B¯
____ A¯/C
____
? b b b ww w ## n w b w # b b www
b b b # n wwww b b www
699
bb w b ww n ww
21 · Augmented Sixth Chords
32 21.8.1. Answer.
õ/B A˜____
o7/C˜
# w
E¯7 F/A G¯7 A 7(¯5) G____
? b b www
____ ____ ____ ____
# n ww b b b n www # # # # ‹ www b n # www # # # wwww

666
w w
Ger+6
g: ____ N6
e: ____ It+6
B¯: ____ c˜: ____
Fr+6 viio6/V
d: ____ viio65
b: ____
1 2 3 4 5 6
# w
? # # b # wwww b b b ∫ b www # b www # # # # n # www b b # n www b b ww
672
21.8.2. Answer. b # n w bw b ww
34
D: ____
A 7(¯5) A¯: ____D¯7 G: ____ õ7/F
E¯7 B: ____D____B¯:˜ ____ ____
c:7____
B¯
## ‹ w # ww
____ ____
# #w
____
& # # www # b www # # wwww b ww

734 1 2 3 4 5 6
b n ww
# # # # w b b b n wb w # w b b # # w
& 1.wwwc˜: Fr+6 b 2.wwF: It+6 b ww3.w G: EnGerb www+6 4. a:#viio65w/Vww 5.bd: #Ger
n w+6
678
b www
b f˜: ____
&b 7
739
f: ____ G: ____ g: ____ b: ____ F: ____
8 9 10 11 12
22 · Modulation
684
E¯7 F/A
& G¯7 A7(¯5) Gõ/B Aõ7/C˜
1. c˜: Fr
+6 +6 2. F: It 3. G: EnGer+6 4. a: viio65/V 5. F: Ger+6
22.8.1. Answer.
?
689 (a) d: F, g, A, B2, C
(b) D2: e2, f, G2, A2, b2
(c) f: A2, b2,+6c, D2, E2
1. E¯: It 2. a: Ger+6 3. D: EnGer+6 4. c: V43/V 5. B¯: Fr+6
?
694

####
36
785 (relative keys with same key signature)
36
&# #
& ##
785
22.8.2. Answer.
Lead-sheet symbols: ____ C7/B¯ ____
F ____ F/A ____
Dm C/E
____ Dm/F G7 ____
C/G ____
____ ____ C
Em Fõ
Lead-sheet symbols: F
____ C7/B¯ ____
____ F/A Dm C/E
____ ____ Dm/F C/G
____ ____ G7
____ C
____
G major: G Am Bm C D
Roman numerals: F: I V42 I6 vi
Roman numerals: F: I V42 I6 vi C
___ : ii I6 ii6 I46 V7 I
C : ii
___ I 6 ii6 I46 V7 I
D major:
Gm D
G/B Em F˜m Eø7G B¯/F
Cm Cm/E¯ A BmF7 Cõ
B¯

B¯ : ii6
___ viiø7/V I46 V7 I
R. N.: I ii iii IV V vi viio
# ### ## G major: G Am Bm C D Em Fõ 37
& ##
787
&
787
E C
C˜ A
b A # nBm
www Cõ D n ww Em F˜m
A F
&b
D major: G
w
811
##
789 # #
789
& ####
R. N.: IV V vi viio I
• one common tone—A ii iii
& • roots are a 3rd apart
• both chords are major
E¯# # # # 22.8.3.
ww ww ww b b ww ww b ww ww # ww b www b b www b www n www b www n www b www b b www
w # w w w w b w w w
809
C E C E¯ C A¯ C A Cm E¯m Cm Em Cm Am Cm A¯m
&
#
Answer.
B ## # &
812
809
& f˜ • root of second

A chord is a third lower or higher thana starting chordC
F˜
# #c# #˜
817 • second chord is same quality as starting chord
&
D¯ • the two chords within each bar share only one common tone
817
#### b Gm D d Gm F
& E¯m Gm E¯m
to parallel
œ œ
#### ? b 4 œ˙ . œ œ œ. œœ . œ ˙˙˙
n œœœ
820
825
minor
& b 4 ˙˙ .. b œœ b œg n ˙
e G B¯
825
####
& 22.8.4. Answer.
A C A A 7/G Dm/F B¯7 Dm/A A7 B¯
778
#### Roman numerals: A: I ¯III I V24/IV
& d : V4
___ 2 i6 Ger+6 i64 V7 VI
Lead-sheet symbols: Gm Gm/B¯

____ ____ A¯/C
____ B¯m/D¯ Do7 A¯/E¯
____ ____ Eo7
____ ____ Fm
____
A¯ : I6
? b
822
Roman numerals: F: I V42 I6 vi 6
Roman numerals: g: i i6 N
C : ii
___ I6 ii6 I46 V7 I
A¯ : I6
495
Gm G/B Cm Cm/E¯ Eø7 B¯/F F7 B¯
22.8.5. Answer.
o
i : ii6 iivii III VI VI viio
iv
Roman numerals: B¯
d: ___
___ ___ ø7/V___I46 ___ ___V7
___ ___
Dm ___
Lead-sheet symbols in Dm: ___ Eo ___ F A
___ Gm
B¯ C
___ ___ õ
___
787
Lead-sheet symbols in F: Dm
___ ___ Eo ___ F Gm ___
___ Am ___B¯ C
______
˙ ˙ ___ ˙ii ˙ ___
LSS: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
# numerals:w
4 ˙ ˙ ˙
vii ˙ ___
vi w ___
˙ ___ iii˙ ___
˙IV ___
˙ ( ˙) ( ˙ ) w
o I V
& 4 ˙ ( ˙) (w) w ˙ ˙
Roman F:
( ˙ ) ( w)
( ) ( ) ( )
( ) ( ) ( )
RN: G: ___ ___ vi ___ ___ ___ vi

D:___ ___ ___ ___ ___ ___ ___
HF: Ton Dom ____ PD /V Dom ____ Dom Ton PD Cad64 Dom Ton
22.8.6. Answer.
˜ /F˜ ___ õ7 ___ ˜7 Bm/D 7(¯5) Bm/F˜ F˜ Bm
# 4 ˙ ˙
o
n˙ ˙
Em D___ Em/G F/A
___ A___ B Em
___ F___ ___ G___
w ˙ #˙
795 LSS: ___ ___ ___ ___
#w ˙ #˙ ˙ #˙ w
& 4
RN: e: ___ viio6 ___
i ___ i6 N6 vii
___
o7/V V
___ i
V7 ___
iv ___
b:___ i6 Fr+6 ___
i64 ___
V ___
i
HF: Ton Dom Ton PD
___ PD
__/ V Dom PD Dom Ton
____ PD Cad6 Dom Ton
___ 4
G˜m G ˜m G ˜m
j
Em Em Em B (no 3rd)
œ œ œ. # œœ # ˙˙ ˙˙
# # ˙˙˙ œœœ n œœœ # # ˙˙˙ œœœ n œœœ # # ˙˙˙
803
? 42 n œœœ ... # œœ # ˙˙ ˙˙
p
22.8.7. Answer. J
(a) Fm: Am, A2m, Dm, D2m
(b) D2: F2, F, B2, B3 (or A, enharmonically)

(c) G: B2, B, E, E2
(d) G4m: Bm, B4m, Em, E4m
23 · Enharmonic Modulation

b
23.4.1. Answer.
&b # www w
w # www
g: Ger+6 V
_____
bb b ww w
resolve
& ww b ww
respell
42
A¯
__ V7
: ____ I
_____
˙ ˙ ˙ ˙˙˙
˙ ˙
& # ˙˙˙ # ˙˙˙ b ˙˙˙
888
resolve
b˙ ˙ ˙
826
#
a: viio7
&
enharmonically
V65 c: viio42 V7
respelled enharmonically respelled
b ˙˙˙ ˙
b ˙respell b ˙ b ˙˙˙
G: V7/IV resolve
b b ∫ ˙˙˙˙ ∫ ˙
_____
b ˙ b b ˙˙˙˙
& ˙
b #
892
&
828
e¯: viio43 V42 G¯: viio65 V43
23.4.2. Answer. __ : ____ _____

resolve
Lead-sheet symbols: E¯
____ C¯
____ A¯
____ F
____
7
Am/E E7/D C
____ ____ õ7 ____
____ Dm ____
E
bbbb
830
&
¯VI
7
Roman numerals: E¯: I IV V /V
œ
a Ger+6 i64 V42 viio7/iv
b b œœ b bf:œœœ V7n/VI
832 ___: iv V
œœœ œœœ œœ _____

896
& b œ n œ # n œœœœ n #b œœœœ

n resolve œœ # n œœœ
bb œ
&bb
respell
bbb
897 __ : ____ _____
&
resolve
##
834
&
D: Ger+6 _____
##
836 resolve
respell
&
__ : ____ _____
resolve
497
104 23.4.3. Answer.

Gm
____ 7/C
D____ ____ ¯
Gm/B E¯7
____ Fm
____ E¯7
____ A¯
____
b
& b c œœœ # œœœ œœ œœ b œœ œ
b œœ
˙˙
œ #œ œ ˙
? bb c œ œ œ œ œ
œ b˙
i
g: ____ V42
____ i6
____ Ger+6
____ ____ ____ ____
A ¯: V 7 vi V7 I
# ## œ # œœœ œœ œ
____ ____ ____ ____ ____ ____ ____ 39
œœ # œœ ‹ # œœœ ˙˙
& # c œœ œ œ ˙
? #### c œ
bb œ ˙
23.4.4. Answer.
œ bw œ
838
& b ww #œ wwwœ
E: ____ ____ ____ w ____ ____ ____ ____
E¯: viio7 _____
I
# b # wwn œœœ
____ ____ ____ ____ ____ ____ ____
& # c œœ b bœœœ n wwœœœ n˙

840
n œœn # w
respell resolve
&œ
# œœœ#
# ww ˙˙
? ## c œ f ˜ : ____
n˙
œ respellœ n œ resolveœ
[or G¯] __ viio65 _____
i (or I)
œ
b nw
& b b____ # n____
www n ww____
842
b: ____ ____
w ____ ____
ww
__ viio42
a : ____ i (or I)
_____
bb w
resolve
n www
844
& b
respell
w
__ viio43
c : ____ i (or I)
_____
resolve
23.4.5. Answer. 105
##
846
Dm C ˜ ___
o7
Dm Go7/D¯ E¯7/D¯ A¯m/C¯ Go7/B¯ E¯7/B¯ ¯m
A___
& b 43 œœ&œœ œœ
___ ___ ___ ___ ___ ___ ___
b œœœ b œœœ b b œœœ b b ˙˙˙ b œœœ b b b ˙˙˙ ...

_____ œ œ œ
b: viio7 resolve _____
?848b 43 œ # œ# œrespell
bœ œ bœ
# ˙ œ b˙.
_____
&___
i vii
d: ___ o7 i
___ vii
___ o7 ___ ___ ___ ___ ___
a¯: vii__
o4 : V
____
4 i6 viio65 _____
V43 i
# # ____ ____respell
3 2
& # c œœœ # #n œœ œœœ

resolve
n b œœœ n ˙˙
____ ____ ____ ____ ____
œœœ b n n œœœ
850
˙
& œ
24 · Binary and Ternary Forms
? ## bœ
__ : ____ resolve _____
852 # c œ œ œ œ œ n˙
# # Exercises respell
&
24.9 · Practice
A: ____ ____ ____ ____ ____ ____ ____
b
____ ____ ____ ____ ____ ____ ____
& b b b b c œœœ œ œ
__ : ____ resolve _____
n œœœ # œœœ # n œœœ
œœ n n œœ ˙˙
˙
b œœ œœœœ bœ œ œ œœ œœœœ ˙
&b J J
Menuetto diagram: J J ˙
œ œ
? bbb œ œ œœ œ œ œ œœ œœ œ œœ œœ œœ œœb œœ œ œœ œœ œ œ œœœ œ œ œ œ œ œ ˙
150 LSS: ____ A
____ ____ ____ ____ ____
498NCTs:
Motives:
& b c œJ œJ ˙ œ ˙
APPENDIX A. ANSWERS TO PRACTICE EXERCISES
/: :/: :/
J JJ J
a
Trio diagram:
24.9.1. Answer.
____ œ œ____ œ œ œ____œ œ ____ œ œB œ œ œ ____

œœœœœœœ
? œ œ œ ____œ
ca œ œ œ____ œ œ œ____
œ ____ œ____
NCTs:
HF: b b ____ œ
RN: ____ A
____ ____
/: a'
:/:
b c d :/
m. 4
RN in B¯: ____ ____ m. 8 ____ ____ m. 12
____ m. 16 ____ m. 20
. .
123
œ œ b œ # œ. œTERNARY
HF: ____ ____ ____ ____ ____ ____
œ
œ œ œ ____ ˙˙____ n œœ ____ œœ Œ Œ
TWO-REPRISE SECTIONAL CONTINUOUS ROUNDED BALANCED BINARY
‰ œ ____œ œ ____ ..
1621
&
œ œ œœ
LSS: ____ ____
œ bœ œ œ œ œ . . p
bb œ œ œ œ œ œ . .
Motives:
& J ?J œ
œ œ œ œœ. Jœœ. œ J œ œb œœœ n œœ ˙ œ. ˙
œ. œ œ. œ œ œ Œ Œ ..
œ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ ˙
NCTs:
24.9.2. Answer.
RN: ____ ____A ____ ____ ____ ____B ____

HF: ____ ____ ____ ____ ____ ____ ____
/: a a' :/: b a'
:/
150 LSS: ____
A: HC____ ____ PAC____ ____ HC ____ PAC
œœ œœ œœœ œ œ ˙B
b b c œJ œ A œJ œ œ œ œ ˙
Motives: m. 4 m. 8 m. 12 m. 18
& J JJ J
/: a
TWO-REPRISE a'
SECTIONAL
:/:
CONTINUOUS b ROUNDED BALANCED
c :/
BINARY d TERNARY
œ œ œ œ œ œ
? bb c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
NCTs:
Menuetto diagram:
RN in B¯: ____ ____ ____ ____ ____ ____
.
Trio diagram:
. PAC
123
G: HC .
HF: ____ ____ ____ ____ ____ ____
œ œ œ b œ # œ œ
˙˙____ n œœ ____ œ m. 20Œ Œ
G: HC D: PAC e: PAC
&‰ œ œ œ œ œ œ œ œ ..
1621
m. 4 m. 8 m. 12 m. 16
œ
LSS: ____ ____ ____ ____ ____
œœ œ bœ
œ œ œ. œ. œ .œ . ˙ p
Motives:
bb œ œ œ œ œ . .
& J ?J œœ œœ œœ Jœœ œ J œ œb œœ n œœ œ. ˙
œ. œ œ. œ œ œ Œ Œ ..
œ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ
œ œ bœ œ œ œ œ œ œœœœ˙
NCTs:
24.9.3. Answer.
RN: ____ ____A ____ ____ ____ ____B ____

HF: ____ ____ ____ ____ ____ ____ ____
/: a a' :/: b a'
:/
A: HC PAC HC PAC
m. 4 m. 8 m. 12 m. 18
A B
/: a
TWO-REPRISE a'
SECTIONAL
:/:
CONTINUOUS b ROUNDED BALANCED
c :/
BINARY d TERNARY
Menuetto diagram:
Trio diagram:
m. 4 m. 8 m. 12 m. 16 m. 20
p œ œ œ œ U
? b b œœ œ œ œ
œ œ œ œ
poco rit.
œ
b
œ œ œ œ . œ œ Bœ œ . b œ œ œAœ œ œ œ œ œ œ œ œ
499
bb b œAnswer.
.
0 1590
A
& 24.9.4.
œ œœ a
A B
/: f œ :/:
œœ œœ œ n œ:/ œ
œœ œ
?Bb¯:b IAC œ
a b c c' d
b F: PAC c: IAC B¯: IAC IAC PAC

Two–Reprise Continuous Ternary, if looking at the proportion, or
Two–Reprise Continuous Rounded Binary, if you interpret the first two
notes in bar 13 as being built from the first two notes in bar 1—and if
E¯: HC
œ . b œ œ œ œ œ œ œ œ Uœ
PAC HC HC HC PAC
b œ. œ œ œ œ. œ œ œ
you are considering that Mozart, as a Classical–era composer, is likely to
b
& b
1594
compose a rounded binary. Two–Reprise Continuous Balanced Binary is a
label that describes that the endings of the halves are the same, but doesn’t
A: into
take PAC PAC
account the return D: DCopeningPAC
of the materialA:inPAC
bar 21. PAC
p œ œ
? b b a œœ œœ a œœ b œœ œ œ œ U 123
poco rit.
b . .a œ
œ
cœ œ˙ baœ # œ. œ
&‰ œ œ œ œ œ œ œB ˙ n œœ œœ Œ Œ ..
1621
A
œ
24.9.5. Answer.
p
.œ œ. œœ. . œ. œ.
A B A
? a' œ /: œ b b' œœ ab œ n œ œa'. :/ ..
a
œ. œ. œ œ Œ Œ
b: IAC PAC D: IAC b: HC IAC PAC
Sectional Ternary
A B
E¯: HC PAC HC HC HC PAC
/: a a' :/: b a'
:/
24.9.6. Answer.
A: PAC A PAC D: DC PAC BA: PAC PAC
¯: B¯: IAC PAC:/
/B
:
aIAC F: PAC
a'
:/:
c: IAC b c IAC a'
B¯: HC PAC IAC HC PAC
a a b c a(final phrase could
a be
analyzed as two phrases)
a diagram:
Two–Reprise
Menuetto
b Roundedc Binary (because
Sectional c' a
the motives d first
from the
section are used in the construction of the melody of the second section)
Trio diagram:

m. 4 m. 8 m. 12 m. 16 m. 20
A: HC PAC HC PAC
m. 4 m. 8 m. 12 m. 18
25 · Sonata and Rondo Forms

G: V65 I IV I V7 vi I6 V7 I
4
25.6.1. Answer.
(a) Haydn:PTExpository
transition ST (CT) Fragmentation & Retransition PT transition ST (CT)
sequencing
(b) Beethoven: Developmental
(c) Mozarti K. modulating
In minor: 576: Transitional
III III III modulations V pedal i tonicizations i i
(d) Mozart K. 550: Developmental

PT = Primary Theme 139
ST = SecondaryTheme
(e) Mozart K. 309: Expository
œ œ œ œ œ œ ˙.
CT = ClosingTheme
#
m.1
3 œ
4 .. œ œ œ ˙ .
& Terminative
(f) Haydn: ..
œ œœ œ œ
? # K. œ œ Transitional
œ œ œ
43 .. .
(g) Mozart 309:
.
(h) Mozart
PT K. 576: ST
transition Terminative
1 ST2 7 CT Retransition PT transition ST1 ST2 CT
G: I V6 V I I vi
D: ii I64 V7 I
(i) Mozart
0:00 K. 310: Terminative
(j) Haydn:# Transitional

(2nd time) & .. œ ˙ œœ˙ ..

(k) Mozart K. 457: Expository
. ?# . ..
(l) Mozart K.
0:30550,0:48
IV: Developmental
1:01 1:27 3:13 3:37 3:48 4:19 4:32 4:45 5:12
G: V65 I IV I V7 vi I6 V7 I
25.6.2. Answer.
1:36 2:07 2:24 2:37 3:04 4
PT transition ST
EXPOSITION
CT DEVELOPMENT
PTRECAPITULATION
transition ST CT
0:00 0:08
PT transition 0:22 0:45
ST (CT) 1:40
Fragmentation & Retransition2:03 2:11
PT transition 2:31(CT)2:54
ST
sequencing
(2nd time) 0:51
In minor: i 0:58
modulating 1:12
III 1:35 III modulations
III V pedal i tonicizations i i
PT = Primary Theme
Figure
ST = SecondaryTheme A.0.1: Mozart, Piano Sonata K. 545, I.
CT = ClosingTheme
PT transition ST1 ST2 CT Retransition PT transition ST1 ST2 CT
0:00 0:30 0:48 1:01 1:27 3:13 3:37 3:48 4:19 4:32 4:45 5:12 159
œœ œœ œœ
& œœœ œœ œœ
(2nd time) 1:36 2:07 2:24 2:37 3:04
œ œ œ
Figureœ A.0.2:œ Mozart, Eine kleine nachtmusik, K. 525, I.
? ·œ Voice œ Leadingœ œ œ œ
26 Triads
26.13
C: I · Practice
V64 I6 Exercises
C: IV I64 IV6
26.13.1. Answer.
b œœ œœ œœœ # c œ
& b b c œœœ 5th œ œ œ œœ # œœ 5th œ
Rt 3rd 5th
3rd Rt
3rd 5th Rt 3rd 3rd
œ
Rt 5th
œ œ Rt
Rt 3rd 5th Rt 3rd 3rd
? bb c œ œ # c œœ
œ Rt
5th
b œ œ
3rd
œ œ
5th
Rt
Rt Rt Rt
Rt Rt Rt
E¯: I vi IV ii e: III iv V VI
(deceptive cadence)
bb œœ # c
& b b c œœœ œœ
œ
œœœ
œ œœ œœ Rt œœ œœ Rt
3rd 5th
Rt 3rd 3rd
Rt 3rd
5th Rt Rt 3rd
œ 3rd
5th 5th
# c œœ œ 3rd
Rt 5th
œœ
3rd 5th Rt
? bb b c œ
œ
5th
b œ œ Rt œ Rt
5th
œ
Rt
Rt Rt Rt Rt
Rt
f: i iv VII III G: vi ii V I
œ
œœ œ œ œ
œœ œ 3rd œ Rt
Rt
& bœœœb b c œ œœœRt œ œœ# c

3rd
?
? œ Rtœœ œ œ œœ
œ Rt œ Rt
5th
œ Rt œ
5th
Rt
Rt
œ 6 iv
Rt
? œii Iœ64 e: III

501
œ
C: I 6
E¯: I V 4 œ vi I
6
œ IV C: IV IV V VI
(deceptive cadence)
#I64# cc œ 3rdIV3rd6 Rt
26.13.2. Answer.
b b cc œ 5th œ
b b œ Rt œ œ 5th œ œ œ œ œœœ RtRt œœœœ 5th
V64 3rd I6
œœ œœ3rd 5th œœ œœ 5th œœœœ Rt3rd œœœ3rdRt œœ 5th3rdRt œœ 3rd5thRt
C: I C: IV
& 5th # œœ
RtRt 5th
3rd 5th3rd
Rt
bb c œ 5th œ Rt œ 3rd œ 5th # c œœœ 5th3rd5th œœ 3rd3rd œ

5thRt
œœœ Rt5th5th œ 5th

Rt 3rd
3rd Rt5th 3rd 3rd
?& b b b cc œœ Rt3rd œœœ 5thRt œœœ RtRt œœ 3rd # # cc œœ Rt œœ 5th œ œ

bb œ œ Rt œœ Rt # œ RtRt œ
3rd
œ œ Rt
Rt
œ Rt
3rd
œ 5th œ 3rd œ Rt œ 5th

Rt Rt 3rd
Rt 5th Rt Rt Rt
3rd
Rt Rt 3rd
? b E¯: # ce:G:IIIvi ivii

b b c Iœ Rt viœ Rt IVœ Rt iiœ Rt œ Rt œ Rt (deceptive œ Rt cadence) œI Rt
f: i iv VII III V
V VI
& bb cb E¯:œœ I 3rdœœvi Rt IV œœ œ

iiœœ 3rd # œœce: III 3rdœœ iv œœ V œœVI
& b b c œœœ 5thRt œ œœœ 5th œœœœ 3rd œœ Rt œ œ Rt(deceptive cadence) œ
œ œœ 5th # œœ œ Rtœœ œ 5th œœ œœ 3rdRt œœ 5thRt
5th
? b b cb œ 3rdœ Rt œ 5th œ 3rd # œœ 3rdRt œ 5th œœœ 3rd

& b bb cc œœœ 5thRt œœ 5th œœœ Rt3rd œœ Rt # cc œœœ 5th3rd
3rd Rt
? œ 3rd
bb œ Rt œ Rt3rd œ Rt5th œœ Rt5th œ RtRt œœ Rt5th
Rt
˜
Rt
V œ ____ VI œ 3rd____ iœ 3rd

Rt Rt
iv œ 5th ____
? b bd:b ____
c
i VII
____
œ
III
____
œ
iv
____
#____c œ
5th
Vœ
b œ Rt œ Rt œ Rt œ Rt
26.13.3. f: i
Answer. iv VII Rt III G: vi ii I
Rt (deceptive cadence)
Rt Rt
& b c œœf: i œœ iv œœVII œœIII œœG: vi œ ii œ V œ I

œ œ œ
#
& b cc œœœ œœœœœ œœœœ œœ œœ # œœ œœ œ
œœ œœœ œœ ˙˙ œ ˙
?& c œ
b œœ œœ œœ œœ œ œ œ
?# c œ œœ œ œ œœ œ # œœ˜ œ œœ
? b c iœ VIIœ III
œ iv V VI
œ ivœœ ˙ œœi
d: ____ ____ ____ ____ ____ ____ ____ ____
I
G: ____ V
____ vi
____ iii
____ ˜ IV cadence)
(deceptive
____ ii
____ V
____
i
d: ____ VII
____
(deceptive III
____
cadence) iv
____ V
____ VI
____ iv
____ i
____
#
& c Answer.
œœ
(deceptive cadence)
œœ œœ œœœ œœ œœ ˙˙
26.13.4.
œ œ œ œ œ ˙
#
& # cc œœœ
? œœ œœ œœœ ˙˙
œ œ œ œœ œœ ˙
? #G:c____ œ œ œ ˙
I
œ
V
____ vi
____ iii
____œ IV
____ œ
ii
____ V
____
(deceptive cadence)
I
G: ____ V
____ vi
____ iii
____ IV
____ ii
____ V
____
(deceptive cadence)
26.13.5. Answer.
## c
œ
160
& œœ
3
œœ œœ œ
œ
3 5 3 5 3
R 5 R R 3 œ 5
œœ œ œ
PRAC EX
? # # c œœ 5 œ R œœ 5 5 R
œ R
R R 3 R 3 R
I
D: ____ IV
____ I6
____ ____ viio6 ____
ii ____ I
b
PRAC EX &b c
b
502
& b c œœ œ œ œ A. ANSWERS TO
APPENDIX
œ
w PRACTICE EXERCISES œœ w
œ œ œ œ ww
(one of several
? b b c Answer. œ
possible solutions) 161
26.13.6. œ œ œ
bb c œI
161
& B¯: ____œ #Vœœ œœ #____

œœ wV
6 ii6
w
____ I
____ ____
bHF: ____
& b c œœ # œœ œœ # œœ ww
Ton. Dom.
____ Ton.
____ Pre-dom.
____ Dom.
____
? b c œ w
b œœ œœ
? #b# œ œœ6 œ œ6 œ œœ˜ ˙ ww
& b c œœ o6 6
˙
i
g: ____ vii
____ i
____ V
____ VI
____
˜
? #b b# g:c ____
6 6
&
i viio6
____ i6
____ V
____ VI
____
26.13.7. Answer.
? bb bbHF:c ____
œ œœ œœ œœ ww
D: ____ ____ ____ ____ ____ ____
&
162
# c œ ____ ____ ____ ____ ____
& # # # œœ œ
? b b cc œ œœ œœ œ œ ww œ œ
(one of several
& œ
possible solutions)
œ
?# c œ œœ œ œ œ œ œ
b# I ˙
?
& #b #B¯: c____
V6
____ I
____ ii6
____ V
____
˜ 6 6 ˜
Ton.
HF: ____ Dom.
____ Ton.
____ Pre-dom.
____ 4 Dom.
____
? be: ____
6 chordb type:Answer.
A: I ____
V6 ____
I ____
IV6 ____
V 6 I____ V____ vi
# œ
& # ## cc œœ Rt # œœ 3rd œ ˙ ˙˙
26.13.8. ____
œœ
4
& œœ 5th œœ Rt œœ Rt œœ # œœ
œ 5thRt œ œ œ ˙˙
Rt Rt 3rd 3rd
b
5th
b#b#b cc
5th
?
Rt 5th
& ˙
3rd 5th 3rd
?
& #b # c œ Rt œ 5th œ œ
3rd 5th
œ
3rd
œ 3rd 3rd
5th Rt Rt
? b D:c____ ____
166
&
? b bHF:
˜
____ 6____ 6 ____ ____
b ____ ____
6 6
b b: ____ ____
4 4
____ ____ ____ ____
#
i V64 i6
____ iio6
____ i46
____ V
____ VI
____
6 chord #type: c: i
4 ?& iv
passing
____ i64 iv6 o6
ii____
cadential i64 V VI
6 chord type: ____ ____
4
26.13.9. Answer.
? #b b# cc˜: Vœ7 œœ œœV7Rt œI 5th œœ œœ iRt n œœ œ 3rd I
& b inc.œ œ œ 5thcomp.
Rt
i 5th A: f:Rt V7 E¯: V7
3rd
œ œ Rt œ
5th 5th
œ œ 3rd œ 3rd œ
3rd 5th
comp. comp.5th inc. Rt comp. comp. Rt comp.
? bb c œ
3rd
œ
Rt
œ 5th œ œ
3rd
œ œ œœ 3rd
&#b
5th
3rd 3rd 5th Rt Rt
Rt
& # c: i
Rt
iv i64 iv6 iio6 i64 V VI
? œ œ œ
? ## œ œ
6 passing cadential
œ
chord type: ____ consec. 1st-inv. ____
œ œ
4 Dec. Cad.
27 · b Voice Leading7 Seventh 7 Chords

&b c
7 7 7 7 7
˜
27.6b: ·____
Practice
____ Exercises
____ ____ ____ ____ ____ ____
? bb c
27.6.1. Answer.
## ˙ #
& # ˙˙ ˙˙ ˙
˙
˙ ˙˙ ˙˙ b b ˙˙ ˙˙
˙ ˙ ˙ ˙ #˙ ˙˙ ˙ ˙
? ˙ ## ˙ ˙ # ˙ bb ˙
˙ ˙
a: V7 i D: V7 I e: V7 i B¯: V7 I
inc. comp. comp. inc. comp. comp. comp. comp.
b
&b
? bb
˙ # ˙ ˙ b ˙
a:## V7
&
n e: V7
c œœ comp. œ comp.
iesc D: V7 I susi B¯: V7
ant I
& inc. #œ œ inc.
œœ œœ
comp. comp.
# œœ ˙
comp. comp. 503
˙
? # Answer.
? # # c œœ
sus ant
œ œ
dn
œœ œ œ ˙
27.6.2. p
œ
& œ M6 œœ M4 œœ ø6 œœ 4 œ œ œ œ œ
G: I 5 IV 2 vii 5 iii œ vi56 œœ ii42 œœ V56 œœ IM42
œ œ
? b#b#e: b œ____ œ____ œ____ œœ____ œ____ œœ ____ # œ ____ œœ
p 2
& b œ œ œ
## c
& b: ____
? b b b (alternate complete with incomplete, or incomplete with complete)
i7 iv7
____ VII7
____ IIIM7
____ VIM7
____ iiø7
____ V7
____ i
____
b
? # # c f: œi4 œiv56 VIIœ 42 IIIœM6 œ
VIM42
œ iiø6 ˙ V4 i6
2 5 5 2 5
˜
#
27.6.3. Answer.
&
b: ____
œœ œœ
____ ____ ____ ____ ____ ____
œœ œœ œœ œœ œœ œœ
&b cœ
œ œœ œœ œœ œœ œœ œœ
?# œœ
?b c
bbbb
&
28 ·# Voice Leading With Non–Chord Tones
&
? bb
bb
? # · Practice Exercises
28.4
28.4.1. Answer.
sus
# esc
& c œœ œ œœ # œ
n 4 - 3 ant
œ n œ œœ œ œœ œœ # œ œ ˙
˙
? # c œœ
p
œ.
sus 4 - 3 dn
œ œœ œ œ œ œ œ œ ˙
œ œ œ œ œ
ant
p
i
e: ____ V
____ VI
____ iv
____ i64
____ V7
____ i
____
28.4.2. Answer.
#
n
& # c œœ œ œœ œ œœ
172
œœ œœ œ œœ ˙˙
sus
ant 4 - 3 sus
p
œ œ œ œ œ
9 - 8
œ
4 - 3
œœ œœ # œ ˙˙
sus
? ## c œ œ œ
œ
˜
i
b: ____ iv
____ i
____ III
____ iv
____ V
____ VI
____
#
&
?#
?b c
28.4.3. Answer.
n app 177
& b c œœ œ œœ œ œœ œ œœ œ
sus 4 - 3 ant
œœ œ œœ .
œ ˙˙
& œœ 7th œœ
œ œ
n 3rd
œ œ
sus 4 - 3
œ œ œ œ œ
sus 4 - 3
?b c œ œ œœ ?
178 œ œ œ #œ ˙
œ
&
C: viio7/ii ii
?
& ·b Voice œ Chromatic
b œ 7th œ œ n œ œ 7th ˙
n œ 3rd œœ
|| 5ths
29 œ
œ Leading & œb b n œ 3rd n œ Harmonies
? b · Practice
7 7 7 7
29.5 Ω Ω Ω
Exercises
____ œ ____n œ ____ œ ____ n œ
A¯: ____ ____ ____
? b #œ œ #œ œ
29.5.1. Answer. bb
bb
& b b œœ œœ n œœ b œœ viio7/V œœ V œœ viio7/V˙ V
c:
˙
œ nœ bœ nœ œœ
? bb
& bb œ œ œ
œ n œœ ˙˙
? A¯:
I V7/vi V7/ii V7/V V viio7/vi vi
____ ____ ____ ____ ____ ____ ____
free res.
comp. inc. comp
b
viio7/ii V42 I6 V65 /V
& b b#b
29.5.2. A: I
Answer. ii V
## c œ œ œ
n p ant sus 4 - 3
& œ nœ œœ œ # œ . œ œ œ œœ œ˙ œ
? bb b œ œ
b
œ œ
n
œ œ œ œ œ ˙
? ### c
n
œ #œ œ œ œ #œ ˙
A: I viio7/ii ii V24 I6 V56 /V V
Notice that the chords on beats 5 and 6 are consecutive first inversion
chords (even though one is a 7th chord), therefore the third is doubled on
I6&to avoid parallel fifths.
29.5.3. Answer.
# œ œ œ œ # œ nœ #œ œ
180
& b œœ œœ ˙œ œ œœ b œœ # œœ œœ # œ œ œ ˙ œ œ œ œœ
œ bœ œ œœ # œœ œœ œ bœ ˙
? b œ œ ˙˙ œ # # œœ œ œœ œœ
œ œ ˙ œ
¯ 6 ¯6 7
˜
˜
vi ___
F: ___ iv ___
V i6 N
a: ___
6
___vii
o7
___/V___
V G: ii7 viio7 I e: VI N6 V7 VI
#
&
?#
bœ œ œ
6 6 6 6
4 5 4
3 3
D: ___ ___ ___ f: ___ ___ ___ G: V43/V EnGer+6 I64 b: i6 It+6 V
505
29.5.4. Answer.
# b b b b œœ œœ œœ # ## œ œ
& # œœ œœ œœ œœ # œœ œœ œ # œ # œœ
184
& œ
? # # œœ #œ œ b œ nœ œ # # œœ b œœ œ # # œœ œœ œœ
b œ œ bb œ bœ œ
b n
? œ 64 n œ œ6 65n œ 64 œ œ nœ
3 3
#œ
Fr+6 IV6 Ω7 +6 I64 b: i6 Ω5It+6 V
I ___ ___
V 4 Ger +6 i6
D: ___ f: 6___ ___6 ___4 G:6V43/V EnGer
Ω3 4+ 4
3
E: ____ ____ ____ ____ ____ ____ ____ ____
&
? œ œ œ œ œ œ
œ œ
6 6 ¯7 7 ¯7 ¯7 7
4 4 Ω Ω Ω
3
b¯: ____ ____ ____ ____ ____ ____ ____ ____
&
&
?
f ˜: i V42/V V6 viio43/iv IV6 Ger+6 N6 V7
29.5.5. Answer.
bb œ œœ
& b b œœ œœ œ œ b ∫ œœ n œœ œœ . œ œ
œ
œ nœ bœ œ
A b œœ œ
bœ œœ
? bb b œ bœ œ œ nœ œœ
b
esc, 4-3 sus, p, ant
30 · Introduction to Counterpoint

&
& 44 ww w ww w
ww ww ww ww ww ww
?
? 44
506
30.9.1. Answer.
Interval: 88
Interval: ____ 33
____ 66
____ 6
____ 3
____ 6
____ 8
____
66 33 66 88
4 ww
____ ____ ____ ____ ____ ____ ____
ww ww ww ww
Interval: 8
____ 3
____ 6
____ ____ ____ ____ ____
& 444
& ww ww
44
& ww ww
&4 ww ww ww ww ww
c.f.
c.f.
8
Interval: ____ 3
____ 6
____ 6
____ 3
____ 6
____ 6
____ 6
____ 3
____ 8
____
& w w w w w w w w w
& 44 w
c.f.
& 4 w w w w w
&4 w w
no more than 3 consecutive 6ths or 3rds
w #w w
changed direction on B (avoid changing on Fn later)
44 w w w w w w w w w w w w # w w
Int: 8
___ 3
___ 3
___ 5 ___
___ 8 ___
3 ___
6 ___
3 6 ___
___ 6 ___
3 ___
3 ___
6 ___
8
&
&
& 44 w w w w w w w w w w w w w w
& c.f.
&
8 5 ___
6 ___
6 ___
3 ___
3 ___
5 ___
8 6 ___
3 ___
6 ___
3 ___
3 ___
1
w w w w
Int: ___ ___ ___
w w w
& 44 w w w w w w w
c.f.
& 44 w w w w w w w w w w w w w
w
&
&
&
&
&
&
4 w w w w ww ww w w w ww w ww ww w
&4 w w w w w w w w
4 w w
& 44 w
w
w w w w w w w w w ww w w
& 4 w___ w5 ___
w6 w8 ___
w6 w___ w8 6 w
w___ w___
507
Int: w2 ___
1 ___ ___ 6 ___ 8
___ 5 ___
3 1
___
Int: 4 c.f.
wAnswer. w5 ___6 w8 ___ w6 ___ w6 ___ w5 ___ w
& 4
30.9.2. 1 ___
___ 2 ___ ___ 6 ___ 8 ___ 8 ___ 3 1
___
w5 ___6 w8 ___ w6 ___

& 44 c.f.
w w6 ___ w5 ___ w
Int: c.f.
1 ___
___ 2 ___ ___ 6 ___ 8 ___ 8 ___ 3 1
___
w pt w w w w w ˙ w
& 44 ˙ pt˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
& 444 ˙ pt˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
&4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
Int: 8
__ __ 3 __
__ 2 __
3 __
5 __
8 __
7 __
3 __
5 6 __
__ 7 6 __
__ 3 __
6 __
3 __
5 __
6 8
__
˙6 ˙__3 __
& 44____Ó____
˙8 __˙3 ˙__2 __ ˙8 ˙__7 __˙3 __˙5 __6˙ __
˙7 __ ˙6 ˙__3 __˙5 #__6˙ __8w
3 ˙__
Int:
˙ 5 __
__ __ __ __ __ __ __ __ __ __ __ ˙__ __ __ __ __ __
& 444 Ó ˙˙ ˙w pt˙ ˙ ˙ ˙˙ pt˙ ˙w ˙˙ ˙ pt˙˙ w˙ ˙ ˙˙ ˙ ˙ # ˙ ww
Int:
?
& 4 Ów w˙ pt˙ w˙ ˙ w pt˙ ˙ w˙ pt ˙ w ˙ w˙ # ˙ w
? 44 c.f.
w w w w w w w w w
? 44 c.f.
w w w w w w w w w w
c.f.
Int: __ __ 8 __
5 __
3 __
3 __
5 __
8 __
3 __
3 __
2 __3 __
2 __3 __
5 __6 __
7 __
3 __
5 __ 6 __
3 __
8
& 44 w
c.f.
w w w w
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
w w w w w w
& 44 w
c.f.__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
w pt w pt w
Int: __
w w˙ ˙ w w pt w w
?
& 44 Ów ˙ w˙ ˙ ˙w ˙ ˙w ˙ ˙w ˙ ww
c.f.
˙w ˙ ˙w ˙ w˙ ˙ w˙ ˙
? 44 Ó˙ ˙w ˙ ˙w ˙ ˙˙ ˙˙ ˙˙ ˙˙
˙˙ ˙˙ w
? 44 ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
Ó˙ ˙˙ ˙˙ ˙˙ ˙˙
˙˙
w
&
&
&
&
&
&
4
&4
? 44 w w w w A. wANSWERS
w TOw PRACTICE
w w EXERCISES
508 APPENDIX w
c.f.
30.9.3. Answer.
œ œ œ œ œœœœ œœ œ w
8 __
2 __
3 __
8 __
3 __
2 __
8 __
3 __
6 __
5 __
3 __
4 __
3 __
4 __
5 __
6 __
3 __
3 __
5 __
6 __
6 __
7 __
8 __
6 __
8 __
7 __
5 __
6 8
& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Int: __ __
œœ œ
pt pt pt pt pt
? 44 w w w w w
camb.
w w w
c.f.
8 __
7 __6 __
5 __3 __
4 __
6 __
5 __
3 __
8 __
2 __3 __
3 __
2 __
8 __
7 __
5 __
5 __
tt __
3 __
3 __
8 __
2 __
3 __
3 __
5 __
4 __
3 8
4
Int: __ __
&4 w w w w w w w w
? 44 œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ w
c.f. camb.
pt pt pt pt pt pt pt
œ œ œ
8 __
Int: __ 2 __
3 __
5 __
6 __
5 __
3 __
4 __
3 __
2 __
1 __
7 __5 __
4 __
3 __
5 __
6 __
7 __
8 __
7 5 __
4 __
3 __
5 8 __
7 __
5 __
6 __
8
4 œœœ œœ œ œ œ œ œ œ œ
__ __
œœ œœ œœ œœ
8 __
2 __
3 __
5 __
6 __
5 __
3 __
4 __
3 __
2 __
1 __
7 __5 __
4 __
3 __
5 __
6 __
7 __
8 __
7 5 __
4 __
3 __
5 8 __
7 __
5 __
6 __
8
œœ œ œ œœ œœ œœ œ # œ ww
Int: __
& 44 œœ ptœ œ œ
&
__ __
œ œ œ œ ptœ œ œ œœ œ œ œœ œœ œ #œ
œœ
ww pt
pt pt pt
ww
pt pt
ww pt wwcamb. w
pt
? 4 ww ww
pt pt pt pt pt pt camb.
?4 ww w
4 c.f.
c.f.
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œ œ œ œ œ œœ œœ ww
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
4 œœ
8 __
Int: __ 3 __
4 __
5 __
6 __
7 __
8 __
2 __
5 __
3 __
1 __
2 __
6 __
8 __
7 __
6 __
3 __
2 __
8 __
6 __
6 __
5 __
4 __
3 __3 __tt __5 __6 __8
& 44 œœ œœ œ œ
& œœ œœœ œœ
? 4 ww wwpt
pt pt
? 4 ww w ww ww
pt pt pt pt pt
ww ww w
4 c.f.
c.f.
&
&
?
?
& 444 œ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœ œœ œœ œœ œœœ œœœ œœ œœ œœ œ œ œ
œœœ œœœ œœ œœ œœ œœœ œœœ œœ www
8 __
Int: __
__ 3 __
__ 4 __
__ 5 __
__ 6 __
__ 7 __
__ 8 __
__ 2 __
__ 5 __
__ 3 __
__ 1 __
__ 2 __
__ 6 __
__ 8__ __
7 __
__ 6 __
__ 3 __
__ 2 __
__ 8 __
__ 6 __
__ 6 __
__ 5 __
__ 4 __
__ 3 __
__ 3 __
__ tt __5 __
__ 6 __
__ 8
8 __
Int: __ 3 __
4 __
5 __
6 __
7 __
8 __
2 __
5 __
3 __
1 __
2 __
6 __8 __
7 __
6 __
3 __
2 __
8 __
6 __
6 __
5 __
4 __
3 __3 __tt __
5 __6 __
8
œ œ œ œ œ œ ptœ œœ œ
__ __
&
& 4 œœ œ ptptœ œ œ ptœ ptpt œ œ œ pt
pt œ
pt pt
w
pt
? 4 wwptpt
pt
w ww ww ww
pt
w
pt pt 509
w
pt pt pt pt
? 4 w
pt
www w
pt pt
? 4 wAnswer.ww w w w w
4 c.f.
30.9.4. c.f.
Intervals:c.f. 8 __
7 __
6 5 6 3 5 7 __
6 7 6 7 6 8
44 Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙˙˙
__ __ __ __ __ __ __ __ __ __ __
˙˙ ˙˙ ˙ ˙ ˙
www
Intervals: __
8 __
7 __
6 __
5 __
6 __
3 __
5 __
7 __
6 __
7 __
6 __
7 __
6 __
8
& Ó ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙˙ ˙˙ ˙˙
Intervals: 8 __
__ 7 __
6 5
__ 6
__ 3
__ 5
__ 7 __
__ 6 7
__ 6
__ 7
__ 6
__ 8
__
& 44 Ó ˙ sus.
& ˙
sus. sus.
www
sync. sync. sus.
? 4 ww www ww
sync. sus. sus.
ww www
sus. sync. sus.
? 4 w www
sus. sync. sync. sus. sus. sus.
? 44 c.f.
ww w w w
c.f.
c.f.
c.f.
4 ˙˙ ˙ ˙ ˙˙˙ __
6˙ __
˙ ˙˙˙ ˙˙ ˙˙ ˙˙
ÓÓÓ
8 __
4 __
3 8 __
5 6 __
5 6 __
3 5 __
6 7 __
6 8
˙˙ ˙˙˙ # ˙# ˙ www
Intervals: __ __ __ __ __ __ __
& 4 ˙ ˙
8 __
4 __
3 8 __
5 __ 5 6 __
3 5 __6 7 __
6 8
& 44 ˙
Intervals: __ __ __ __ __ __ __
& ˙ ˙
˙ ˙ ˙˙ ˙ ˙ ˙ ˙ #˙
www www www www www www
sus.
?
? 444 ww w
sync. sync. sync. sync. sus.
ww
sus. sync. sync. sync. sync. sus.
w
c.f.
c.f.
c.f.
& 4444 ÓÓÓ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙˙˙ ˙ ˙ ˙ ˙# ˙# ˙

Intervals: 8 __
__ 4 __
3 __44 __
3 5 __
__ 3 4 __
__ 3 8 __
__ 6 7 __
__ 6 8
__
˙ ˙ ˙ www
Intervals: 8 __
__ 4 __
3 __ __ 3 5 __
__ 3 __4 __
3 8 __
__ 6 7 __
__ 6 8
__
&
&4 ˙ sus.
˙ ˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙ ˙ ˙ ˙ ˙ #˙
ww ww
w www sync.www sus.www www sus. www www
sus. sus.
?
? 44
sus. sus. sus. sync.
sync. sync.
4 c.f.
c.f.
c.f.
4 ÓÓ ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ##˙˙ ww
Intervals: 8
__ 6 __
__ 3 4 __
__ 3 5 __
__ 8 4
__ 3
__ 6 __
__ 8 7 __
__ 6 8
__
& 44
& ˙ ˙
? ww
? 444 ww www ww ww www www www
sync. sus. sync. sus. sync. sus.
c.f.
c.f.
c.f.
œ
œ œ. œ œ œ œ. œ œ œ œ œ œ. œ œ œ. œ œ
(downbeats restricted to chord tones; non-chord tones occur on weakest parts of beats)
3 Answer. .
&4 œ œ œ œ. œ œ œ œ œ œ œœ # œ
192 30.9.5.
œ .. œ œœ œœœ œœ .. œœœ œœ
(downbeats restricted
restricted to
to chord
chord tones;
tones; non-chord
non-chord tones
tones occur
occur on
on weakest
weakest parts
parts ofof beats)
beats)
& 43343 œ œ
(downbeats
œ œ œ œ œ œ
ptones occur
. . œ . œ œ
n
œœœ œœ œœ œœ .. œœ œœœ œœ œœœ œœœ œœ .. œœ œœœ œ œœ .. œœ œœ œœ ### œœœ œœ .. œ œ œ œ œ œœ .œ #œœœ œœ . œ œœ.œ œ œ œœ
œ œ œ
(downbeats restricted to chord tones; non-chord on weakest parts of beats)
&
192
&
? 43
192 Intervals: 3 3 3 8 7 3 4 3 3 3 8 7 8 2 3 5 3 3 87 3 4 3 3 3
œ œ œ∑. œ œ œ œ œœ œ . œ œ œ œ
192
4 œ Œ
p
nn p
œœ œœ ## œœ œœ .. œœ œœœ œœ œœœ œœœ œœœ

p
Intervals: 33 33 33 88 77 33 44 33 33 33 88 77n 88 22
œœœI œœ œœ œœ .. œœ œœœ œœ œœœ œœœ Vœœœ

33 55 33 33 8877 33 44 33 33 33
?3
Intervals:
?
? C:4334 ∑∑∑ Œ œ
Intervals: 3 3 3 8 p7 3 4n 3 3 3 8 7 8 2 3 5 3 3 8p7 3 4n 3 alteration
Œ œ #œ œ. œ œ
3 3
4
I
œ œ œ . œpp œ œœ Œ melodic minor
œ
V
p nn alteration
I
V œ ( # œn) œ
# œ œ œ # œ œ œ œII
p
p nn
# œ œ œ œ
p n alteration
I #œ œ œ œ œ #Vœ # œ œ
œ V minor
C: II II n V I
œ œ œ
C: V V
& œ œœ œ œ œ
C: I
œ n œ melodic œminor
melodic
## œœ ##œœ œœIntervals:œ œ3 3 4 3œœœ3 œœ8œœ6œœ6œœ5 ##œ3œœœ8#((##œ7œœn))œ(8) œœœ# œ# œœœœ œ œœ3# œ# œ3 4œ3œ# œœ3 #8œ 6œœ œ3œ 3œœœ
œ
&#
& œœ œ # œ œ œœ œœ œœ œ œœ œœ œœ œ œ œ œ # œ œ #œ œ œ # œ œ œ
&
?# œ œ œ œ œ œœ # œ œœ œ( # œ)œ # œ œ œ œ
∑Intervals: œ3 3 4 3 33 œ88 œ66 œ66 55 3œ3 88 77 (8) Œ Œ # œ
3 3 4 3 œ3 #8œ 6 3 3
œ
Intervals: 3 3 n4 3 œ œ 3 œ 3 #4nœ3œ 3 8 6 3 3
(8)
?#
?
? e:## i ∑∑∑ œ #œ œ
iœœœ ##œœœœ œ œœœ œ œ Œ Œ Œ Œ #Vœ# œ œœ#((#œœœ))œ œœ ## œœ œœ alteration œœ œœi
œ
œœ n œœœ œœ œ œ œ V Œ Œ # œ œ
œ # œ alteration œ
n œ œ œœ n
# # i2 œ œ œ œ œ œ œ ii
n
œ œ œ V.
e: i i V V alteration
& 4 œ œ œ œ œ œ œ. œ œ
e: i V
œ œ
##
& #### 42242 œ œœ œIntervals: œ 3 8 3 3œ œœ3 5 œ8 œœ3 œ8 œœ œ œœ œœ
œ 3 .. 8 œœ3 œœœ3 œœœ3 tt œœœ3
& œ
œ œ œ. œ œ œ . œ œ œ œ œ
œ œ œ œœ . œ œœ œ œ œ œ
? # # 442 œœ œ œœ∑œœ œ œœ œœ . œ œœ œœ œ œ œ œ Œ
&
Intervals: 3 8 3 3 3 5 8 œ3 8
œ œ œœ œœœ œœœ œœœ
œœ œœ adjustment
3 8 3 3 3 tt 3
? ## # 242
? ∑ œ œ
œ œ œ œ œ œ œœ œœ Œ œ
œ œ œ œ
? ### D:442 I ∑∑ œœI œ œœ (ii)œ œ œ V œœœ ŒŒ V 7 I
"microharmony" adjustment
tritone is harmonically
D: I I (ii) V V supported7in V7 chord
I
"microharmony" tritone is harmonically
œ .. œ # œ œœ œ n œ
4343 ‰‰ œœjj œ œ œ œ # œ . œ œ. œ œ
œ . œ œ . nn œœ œœ .. œ œ
supported in V chord 7
& b œ œœ .. œ œ
œ # œ œ n œ œœ ## œœmelodic
œ œ # minor
&b œ œ œ
jœ œ # œ œ œ .œ . œ œœœ. . œ # œ œ œ œ
& bb 343 j œ #œ œ #œ. œ œ. œ . œ œœ
& 4 ‰‰œœ œœœœ œ # œ œœœ œœ. .œœœœ. . œ œ # œ œ œ nnœœ œœ ##œœ œœ œœ # œ .œœ œ . nnœœ œ . œ œ
#œ œ
œ œœ p n ŒŒ ‰‰ œJJœp # œ nn œœ œœ ## œœ œœ œ œ
œ #œ œ
?
? b 433 ∑∑ ‰‰ JœJp œœ œœ œœ ## œœ œœ œœ œ 2 8 7 (8) 6œ 7#3œ n4œ 5œ 3 3œ 8œ3 œœ3
? b 343 6œ7 3 4 5 3 3 6
œ œœ œ 3œ5 3œ
J # œ n œ œ ## œœ œ œ
∑∑ ‰‰JJ œ œ œœ##œœœœœ ŒŒ ‰‰ J
b 4 œ
Intervals:
?
b 4 œœ
p alteration
##
p alteration
e: ii
d: ii V
V V
V ii
&
&
?
? ##
511
30.9.6. Answer.
FORM Exposition 1
SOPRANO
ALTO
TENOR Subject
BASS Subject Subject Sub. Countersubject
KEY F4m C4m
Meas. 1 2 3 4
l
FORM (Bridge)
SOPRANO
ALTO
TENOR Subject Bridge Mot. A Bridge Mot. A Bridge Mot. A
BASS Countersubject Bridge Mot. B Bridge Mot. B Bridge Mot. B
KEY
Meas. 5 6 7 8
l
FORM Exposition 1 (continues until 4th voice has subject)
SOPRANO Subject
ALTO Subject Subject Sub. Countersubject
TENOR Countersubject Countersubject C.S. Ctrpt
BASS Ctrpt Ctrpt Ctrpt Ctrpt
KEY F4m C4m
Meas. 9 10 11 12
l
FORM Episode 1
SOPRANO Subject Bridge Mot. A Bridge Mot. A
ALTO Countersubject Bridge Mot. B Mot. B Ctrpt Ctrpt
TENOR Ctrpt Ctrpt Ctrpt Ctrpt
BASS Ctrpt
KEY
Meas. 13 14 15 16
l
FORM Exposition 2
SOPRANO Cadential Ctrpt Ctrpt Ctrpt
ALTO Cadential Subject Subject Subject
TENOR Cadential Ctrpt Ctrpt Ctrpt
BASS
KEY F4m
Meas. 17 18 19 20
Table A.0.3: Mass in B Minor : Fugue Analysis Table
31 · Introduction to Jazz Theory

1. G99sus 2. B7(˜5) 3. Em9(¯5) 4. C˜m11 5. D77¯9
1. G sus 2. B7(˜5) 3. Em9(¯5) 4. C˜m11 ¯9
5. D ¯5
¯5
&
&
Δ9(˜˜11) ˜5) ¯5)
## ## www bb #bb wwww

Δ9 7. A¯Δ9( 11) 8. D¯696 9. E¯Δ9( 10. FΔ7(
9. E¯Δ9(˜5)
31.12.1.
6. GmAnswer.
Δ9
6. Gm 7. A¯ 8. D¯9 10. FΔ7(¯5)
w w
?
? wwwww ## wwww bb ## wwwww ## ## wwww # ww
w w
203
#9
w 9(¯5)
˜5) 4. C˜m11 5. D77¯9
9(13) Em9(¯5)F # 9sus C #m 9
1. GA99sus 2.E b 7(B# 9)7(
#5 2. B7(˜5) 4. C˜m11
3. Em ¯9
ww# w
6
˙ b b bb www # ˙ wwwww
1. G 7sus G 3. 5. D ¯5
c ˙ b ˙ b ww
¯5
?& # ˙ww bb bb wwww b w bb wwww

76
? b # www b bb www w
b # ˙w bw
?6.c˙
˙ Δ9 9. E¯Δ9(#˜w5)
˜11) ˜5) ¯5)
˙ 8. D¯9# ˙
GmΔ9 7. A¯Δ9( 8. D¯696 9. E¯Δ9( 10. FΔ7(
7. A¯Δ9(˜11)
6. Gm
b˙ 10. FΔ7(¯5) 199
?
?
2.
C 7( b 5) C 7(# 5)
3.
C 7( b 9) C 7(# 9)
4. 5.
C 7( b13) or C7(˜5)
bw
_
C 7 +_ 9
b b www b b www b bb www

+5 47
& b n b www Answer. b b www bw
2
¯5
w
w F 13sus n ww B 13sus ww
¯9
w Db w C 7 ## 9
5# w
31.12.2. ˜5
w b b#wwwww˜9
c b bbb˙w˙www˜ ∑
respell 5 to agree with ¯7 wrespell ˜9 to agree wwwith ¯7
w
6
# www∑
79 E maj9(13)
?
?
& ˙ # w n www # w
9
& w ˙ ∑
b www # ˙
preferred
& b b ˙˙ w #w w # ww 203
? c 1.b ˙ # 9 E¯m6
˙ B13sus¯9 Gm7(11)
˙
A9(˜11) F˜m9(¯5)
n w G˙9(13) ww ww
_____9 2. _____ 3. _____ 4. _____ 5. _____
A7 #5 E b 7(# 9) F # 9sus Cw# m
6
?& c # ˙˙#wwww b ˙ n b ww # ww ˙ # www # ˙ b ww b b n www# w b wwwb # ww

b w w
6
# w
9
76
w w
bw bw w
##˙9w
w w
? # w E b 7(# 9) # w
w
w C #m w
? cA 7 #˙5w w G 9(13) w F #9sus
#w
6
w
˙ ˙ b ˙ ˙ ˙ # ˙
9
& ˙ EmΔ9(13) b ˙ b ˙ D7˜¯59 ˙ # ˙˙ F#7˜#9w

ww 9. _____
82
˜5w w
˜
7. _____ b w
w
11
& # ˙ # www b ˙ b b www ww b www

E9sus Co7
b
6. _____ 8. _____ 10. _____
b w w ˙ ˙ w bw
˙ # w # ww b w # w
11
? ˙ ˙ ˙
˙
&
b ww b ˙ # 9 n www˙ #˙ ww wwww
b www
b #
w b w
6
?
79
31.12.3. DAnswer. C 7 5 F 13sus B 13sus E maj9(13)
c
&& Dbbbb ˙˙˙˙ww C 7 # 95 ˙ # wE maj9(13) b w
9
85 6
#
b wF 13sus˙ #˙
B 13sus
& b b ˙˙9.˙ _____ b ˙˙˙

9
˙ n # # ˙˙˙˙ 11. _____ # # # www 12. _____

? cb ˙ b ˙ ˙ b b ˙˙˙ #w
10. _____
˙ ˙ w
˙ w b www
15
&
? b ˙ b # www ˙ # w b w
w n
& # w w ˙
? w # w˙ b b www w
# www
#9 w w
A7 #5 E b 7(# 9) F # 9sus C #m
6
& ˙˙ b b ˙˙
G 9(13)
˙˙
9
# ˙˙ # # ww
82 13. _____ 14. _____ 15. _____ 16. _____
&
& # ˙˙ b˙ ˙˙ ˙˙
19
? ˙ # ww
˙ ˙ #˙ # w
b˙
?
85
& D b 69Answer.
31.12.4.
#9
C 7 # 5 1. G4 Diminished–Whole
F 13sus B 13sus Tone E maj9(13)
& b b ˙˙˙ 42 b ˙˙˙ ˙ n # # ˙˙˙˙ # # ## wwww

b b ˙˙˙
2. F4 Octatonic (Half–Whole)
b˙
3. F Locrian ˙
4. C Whole–Tone
5. ?
6.&C Locrian
b˙ ˙ ˙
A2 Lydian–Dominant
˙ w
&
52
52
52 ?
52 7(˜5) Scale: ____________________________
1.
1.E¯
1. E¯7(7(˜˜55));;; Scale:
E¯ Scale: ____________________________
____________________________
&
1. E¯ ˜5); Scale: ____________________________
&
7(
&
513
&
3.
3. FF Diminished-Whole
Diminished-Whole Tone Tone 4.
4. E¯
E¯ Octatonic
(Whole-Half)
31.12.5. Answer.
#œ œ #œ œ œ œ œ bœ bœ
7˜9; Scale: ____________________________
& # œ
2. B¯ ˜99; Scale: ____________________________
? # œ
B¯77˜¯5
œ b œ
2.B¯
? b œ
2. ¯5; Scale: ____________________________
? bœ b œ
˜9; Scale: ____________________________
2. B¯ ¯5
7
?
¯5
1.
1. E
E Lydian-Dominant
Lydian-Dominant 2.
2. B¯
B¯ Phrygian-Dorian
Phrygian-Dorian
?3.3.3.Fm bœ bœ bœ œ œ bœ bœ
7(¯5)
∫ œ b œ
Fm 7(¯5);; Scale: ____________________________
b
3. Fm b œ ; Scale:œ œ œ
Fm7(¯5) Scale: ____________________________
____________________________
œ bœ nœ # œ
; Scale:
&&
7(¯5) ____________________________
&
&3.3. FF Diminished-Whole
Diminished-Whole Tone Tone 4.
4. E¯
E¯ Octatonic
(Whole-Half)
Δ7(˜5); Scale: ____________________________
&
4. A¯ Δ7(˜5); Scale: ____________________________
?
4.A¯
A¯Δ7(
?
4. ˜5); Scale: ____________________________
?
4. A¯Δ7(˜5); Scale: ____________________________
?
31.12.6. Answer.
7(˜5) E¯
1. E¯7(˜˜55));; Scale:
1. E¯ E¯ Whole
Whole Tone
Scale: ____________________________
bb œœ
Tone
bb ˙˙
____________________________
˙
1. E¯7( E¯ Whole Tone
; Scale: ____________________________
& ˙˙ œ ˙˙˙ bb œœ
1. E¯ ˜ ; Scale: ____________________________
bb ˙˙
5
œ œœœ
7( ) E¯ Whole Tone
& bb ˙˙
& œœœ ˙3rd
& bbRoot
˙˙
Root
˙
3rd ˜˜5th ¯7th
¯7th
Root 3rd
˜
5th ¯7th
3rd 5th ¯7th
bb œœ
Root Diminished-Whole Tone
˜˜9; Scale: ____________________________˜
bb ˙˙
2. B¯ 7 9
B¯ Diminished-Whole Tone
B¯ 5th
? #œ
7
˙
2. B¯ ˜¯5
bb œœ
9;; Scale:
Scale: ____________________________
? ˙¯5 bœ b˙ n˙ ˙˙˙ ### œœœ bb ˙˙
2. B¯77¯5¯5
? bbRoot bbb˙˙˙ nnn˙˙˙

____________________________
? bbbœœœ
2. B¯ ˜9; Scale: ____________________________
b˙˙
bRoot
˙
Root ˜9th
˜9th 3rd
3rd ¯5th ¯5th ¯7th
¯7th
¯7th
Root h ˜9th 3rd w ¯5th w w ¯7th
w w
w
hh 3rd w ¯5th w
w
h
h
w
w ˜9th w
w w
w
w
w
w h w
&
h w
&
h
F Locrian (or F Locrian ˜2)
bb œœ bb ˙˙ œœ bb œœ bb ˙˙ œœ
3. Fm7(¯5); Scale: ____________________________
F Locrian (or F Locrian ˜2)
b ˙ b ˙
Fm7(¯5);
b œ b œ
3. Scale: ____________________________
& b œ b ˙ b ˙ œ b ˙ b ˙
& ˙˙ b œ b ˙ b œ ˙˙ œ b ˙ b œ
?
?
(whole step between E¯ and F and between A¯ and B¯
(whole step between E¯ and F and between A¯ and B¯
? bœ
4. A¯Δ7(˜5); Scale: ____________________________
˙
A¯ Lydian-Augmented
? bœ ˙ œ ˙ œ
? b˙
? 3rd
Root ˜5th 7th
32 · Impressionism and Extended Tonality

& œœœ .
œœ œœœ œœ œœ œœ œœ œœ œ œœœ œœ œœ œœœ
. œ œ œ œ œ œœ
? ### c
˙ b b˙b c œ . ˙ œ ˙œ œ ˙b œ œ ˙ œ œ˙ œ œ œ
? œ
œ
?
514 œ œ APPENDIX
RN:c œ . ___ RN: œ
A. œANSWERS TO PRACTICE EXERCISES
œ___ œ œ ___œ ___
œ
___ ___ ______ ___
___
œ ___œ ___
___ ___ ___ ___ ___ ___ ___
___ ___
œ
32.5.1. Answer.
œ œ œ
LSS: 9 F ___ ___ Fm ___ ___Gø7/D¯ Cm ___ D¯/F Gø7 ___Cm Gø7/B¯ Cm
& c b œœ œ
Cm Cm Fm Cm
œ
133 ø7/D¯ Cm ø7 ø7
LSS: Cm
___ Fm Cm Fm
i Cm G
iv i
___ ___ ___ ___ ___ ___ iv i v D¯/F
ø4
___ i6 G
___ N 6Cm G v/B¯ Cm i vø6 i
___ ___ø7 ___
b
3 5
& b b c œœœ ..
œœ œœ œœ œ ___ b œ___ œ___b œœ
œ ___
œœ œœ œœ œœœ
125
œ œ
œœ .
LSS: F9
œ œœ œœ
___
œ œ
___
œ œ œ
?c œ &c œ œ
œ œ nœ œ œ
127
bœ
? b c œ. œ œ œœ œ b œ œ œ œ œ
bb ?c œœ œ œ
&c
135
LSS: i ___ iv i ___

iv i ___
vø4 i6 ___ N6 ___ vø7 ___i vø6 ___
i ___ ___
RN: ___ ___ ___ ___ ___ ___3 ___ ___ ___ ___ ___5 ___
? bcb b
32.5.2.
127 Answer.
& LSS: F9 G9
___ F9
___ E¯9
___ D9
___ E¯9
___ F9
___
c ___ œœ
128
___ &
RN:
b œœ œ
___
œ b œœ ___ n œœ œœ ___b œœ ___ ___ ___ ___
? bb
b œ œœœ œœœ b b œœœ # œœœ œœ n œœœ
? c œœ œ
w
139 209
&LSS: w
w____ (1) in 3rds (2) in 4ths (3) in 5ths (4) in 2nds
bw
& b www w
149
? ww
32.5.3.b w
? b w Dm11
Answer.
b w ____
w www ww ww
LSS: (1) in 3rds (2) in 4ths (3) in 5ths (4) in 2nds
www wwww
144
& wDw¯ w
__ E¯+
___ B¯
__ Cmw
___ __
D w __
C¯ Dmww
___
ww C¯ D¯ E¯
w
B¯
ww b œ
?
A F Gm
œw œ œ bœ w ˙
b bb œœœœ œ
154
& cb b œ
w
?c
32.5.4. Answer.
__
D ¯ E ¯+
___ __¯
B ___
Cm __
D C¯
__ ___
Dm
œ b œœœ œ b œœ bœ ˙
b bb œœœœ n b n œœœœ œ b bn n œœœœ n ˙˙˙˙
156
& cb œ œ # b n œœœœœ
b œ b b œœ bœ n # n œœœ œ b ˙
?c (lower chords can be any inversion)
158
33&· Set Theory
? · Practice Exercises
33.9
515
33.9.1. Answer.
(a) Normal form is [0, 2, 7]. Prime form is (027).

(b) Normal form is [1, 3, 6, 8]. Prime form is (0257).
(c) Normal form is [6, 10, 11, 1]. Prime form is (0137).
(d) Normal form is [7, 8, 0, 3]. Prime form is (0158).

(e) Normal form is [11, 0, 1, 4, 6]. Prime form is (01257).
(f) Normal form is [6, 7, 10, 11, 2]. Prime form is (01457).
(g) Normal form is [9, 10, 0, 1, 4, 6]. Prime form is (013479).
33.9.2. Answer.
Set Normal Form Prime Form Forte Number Interval Vector

1 [11, 1, 3, 5, 6] (01357) 5–24 131221
2 [5, 8, 10, 0] (0247) 4–22 021120
3 [9, 0, 1, 4, 5] (01458) 5–21 202420
4 [3, 5, 6, 10] (0237) 4–14 111120
5 [2, 3, 6, 7, 9, 10] (013478) 6–Z19 313431
6 [2, 3, 5, 6, 9, 10] (013478) 6–Z19 313431
Table A.0.4
33.9.3. Answer.
(a) [5, 8, 9]
(b) [9, 11, 3, 4]
(c) [10, 11, 1, 4, 7]
33.9.4. Answer.
(a) [1, 2, 5]
(b) [0, 2, 4]
(c) [10, 11, 3, 5]
33.9.5. Answer.
(a) T10 I
(b) T11 I
(c) T5 I
34 · Serialism

&
I7 RI7
&
34.7.1. Answer.
œ bœ nœ #œ nœ nœ œ œ #œ œ bœ nœ #œ œ bœ
P7: 7 10 8 2 1 5 3 4 6 0 9 11 R7
& œ bœ bœ œ #œ nœ œ bœ œ
œ7 œ # œ œ b œ n œ b œ b œ œ œ bœ bœ nœ nœ bœ œ #œ nœ œ
I
n œ
RI7
& œ œ bœ bœ
62 (a)
&
62
œ
P1
62
& P1 œ bœ œ œ nœ bœ bœ bœ œ
œ
& #Pœ1 œ bœ œ œ nœ bœ œ bœ œ
62
#œ œ œ bœ
& P1 œ bœ œ œ nœ bœ bœ bœ œ
& Rœ4 œ
# œ bœ œ œ nœ bœ œ bœ bœ œ
(b)
#Rœ4 œ bœ bœ œ nœ bœ nœ
& œ
? #Rœ4 # œ bœ bœ œ nœ bœ nœ
nœ nœ œ
? #Rœ4 # œ œ nœ nœ œ
bœ bœ œ nœ bœ nœ
? #Iœ8 # œ œ bœ bœ nœ nœ nœ œ
b#Iœ8 # œ œ œ bœ nœ #n œ
#œ œ bœ nœ nœ #n œœ œ
(c)
& bIœ8 œ œ œ #œ œ
& bIœ8 œ #œ œ bœ nœ nœ œ #œ
œ #œ œ nœ #œ #œ œ
& bRIœ œ œ bœ nœ œ #œ œ
& RI10 #œ œ bœ nœ nœ œ #œ
& bœ nn œœ bb œœ
? bbRIœœ 10 b œ œœ ## œœ œœ nnœœ œœ bbœœ nn œœ
10
œœ
(d)
? bRIœ 10 b œ œ œ bœ nœ nœ bœ
œ #œ œ nœ bœ
? bœ bœ œ œ #œ œ nœ œ bœ nœ nœ
&
&
&
&
517
34.7.2. Answer.
(a) RI10
(b) I1
(c) R5
34.7.3. Answer.
I3 ↓ I7 ↓ I11 ↓ I1 ↓ I5 ↓ I0 ↓ I2 ↓ I10 ↓ I6 ↓ I4 ↓ I8 ↓ I9 ↓
P3 → E2 G B C4 F C D B2 G2 E G4 A ←R3
P11 → B D4 G A C4 G4 A4 F4 D C E F ←R11
P7 → G B D4 F A E F4 D B2 A2 C D2 ←R7
P5 → F A C4 E2 G D E C A2 G2 B2 B ←R5
P1 → D2 F A B E2 B2 C A2 E D G2 G ←R1
P6 → G2 B2 D E A2 E2 F D2 A G B C ←R6
P4 → E G4 C D G2 D2 E2 B G F A B2 ←R4
P8 → A2 C E G2 B2 F G E2 B A D2 D ←R8
P0 → C E A2 B2 D A B G E2 D2 F G2 ←R0
P2 → D F4 A4 C E B D2 A F E2 G A2 ←R2
P10 → B2 D G2 A2 C G A F D2 B D4 E ←R10
P9 → A C4 F G B F4 A2 E C B2 D E2 ←R9
↑RI3 ↑RI7 ↑RI11 ↑RI1 ↑RI5 ↑RI0 ↑RI2 ↑RI10 ↑RI6 ↑RI4 ↑RI8 ↑RI9
Table A.0.5: Twelve–Tone Matrix

34.7.4. Answer. 213
œ.
. . œ b œ. > RI0 œ . b œ # œ # œ. n œœ. b œ.
P4
& c ‰ œ bœ œ #œ bœ œ #œ nœ nœ œ. bœ œ w
184
p 1 23 >
4 56 7 8 9 10 11 12
# œ. w>
1 2 3 4 5/6 7 8/9 10/11 12
n œœ # œ. 4 n n œœ. 9 >12 . b œ . n .
œ .
P5
œ
2
?c Œ .
‰ J œœ65 œ 8 b b œœ œœ b œ b œ œ # œ n œ. œ b œ n œ
3
#œ
1
10
RI10 7 11
1 23 4 5 6 7 8 9 10 11 12
34.7.5. Answer.
187
& vector: 000300

(a) Set 1: 3, 7, 11. Normal form: [3, 7, 11] Prime form: (048) Interval
(b) Set 2: 1, 5, 0. Normal form: [0, 1, 5] Prime form: (015) Interval

? vector: 100110
(c) Set 3: 2, 10, 6. Normal form: [2, 6, 10] Prime form: (048) Interval
vector: 000300
(d) Set 4: 4, 8, 9. Normal form: [4, 8, 9] Prime form: (015) Interval
vector: 100110
Appendix B
GNU Free Documentation Li-

cense
Version 1.3, 3 November 2008

Copyright © 2000, 2001, 2002, 2007, 2008 Free Software Foundation, Inc.
<http://www.fsf.org/>
Everyone is permitted to copy and distribute verbatim copies of this license
document, but changing it is not allowed.
0. PREAMBLE. The purpose of this License is to make a manual, text-

book, or other functional and useful document “free” in the sense of freedom:
to assure everyone the effective freedom to copy and redistribute it, with or
without modifying it, either commercially or noncommercially. Secondarily,
this License preserves for the author and publisher a way to get credit for their
work, while not being considered responsible for modifications made by others.
This License is a kind of “copyleft”, which means that derivative works of
the document must themselves be free in the same sense. It complements
the GNU General Public License, which is a copyleft license designed for free
software.
We have designed this License in order to use it for manuals for free soft-
ware, because free software needs free documentation: a free program should
come with manuals providing the same freedoms that the software does. But
this License is not limited to software manuals; it can be used for any textual
work, regardless of subject matter or whether it is published as a printed book.
We recommend this License principally for works whose purpose is instruction
or reference.
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any manual or other work, in any medium, that contains a notice placed by the
copyright holder saying it can be distributed under the terms of this License.
Such a notice grants a world-wide, royalty-free license, unlimited in duration,
to use that work under the conditions stated herein. The “Document”, below,
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A “Modified Version” of the Document means any work containing the
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A “Secondary Section” is a named appendix or a front-matter section of
519
520 APPENDIX B. GNU FREE DOCUMENTATION LICENSE
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Index
6
9 chords, 418 Fugue 2 in C minor, BWV
11th chords, 418 846, 404
13th chords, 418 Fugue 3 in C–sharp major,
3–2 clave, 181 BWV 848, 393
8ve, 2 Prelude 1 in C major, 77,
100
accidentals, 3 Brandenburg Concerto No. 2
afterbeats, 176 in F Major, BWV 1047,
altered chords I., 60
definition of, 419 Chorale 103, “Nun ruhen alle
alto clef, 2 Wälder”, BWV 392, 364
Amazing Grace, 47 Chorale 106, “Jesu Leiden,
antecedent Pein und Tod”, BWV
definition of, 141 245/28, 364
antecedent group, 145 Chorale 153, “Alle Menschen
atonal music müssen sterben”, BWV
definition of, 449 262, 363
augmentation, 116 Chorale 204, “Wer weiß, wie
augmented intervals, 33 nahe mir”, BWV 166, 365
augmented sixth chord types Chorale 237, “Gott lebel
French augmented sixth noch”, BWV 320, 363
chord, 251 Chorale 323, “Allein Gott in
German augmented sixth der Höh’ sei Erh” ’, BWV
chord, 251 104, 380
Italian augmented sixth Chorale 323, “Wie schön
chord, 251 leuchtet der
augmented sixth chords, 251 Morgenstern”, BWV 172,
authentic cadence 379
definition of, 45 Chorale 328, “Liebster Jesu,
musical examples, 46 wir sind hier,” BWV 373,
103
Bach, J.S. Chorale 342, “Lobt Gott, ihr
Herz und Mund und Tat und Christen, allzugleich”,
Leben BWV 147, X. BWV 376, 377
“Jesus bleibet Freude” Chorale 4, “Es ist das Heil uns
(“Jesu, Joy of Man’s kommen her”, 276
Desiring”), 226 Chorale 8, “Freuet euch, ihr
Mass in B minor, BWV 232 Christen”, BWV 40, 276
Crucifixus, 261 English Suite No 3 in G
Kyrie II, 415 minor, BWV 808
Well–Tempered Clavier, Book Gavotte I., 318
I English Suite No. 4 in F
527
528 INDEX
Major, BWV 809, III., 288

Sarabande, 271, 272, 274, Piano Sonata Op. 2, No. 1,
275, 277 IV, 176
French Suite No. 1 in D Piano Sonata Op. 2, No. 3,
Minor, BWV 812, I., 74
Sarabande, 104, 243 Piano Sonata Op. 53, I, 222
Invention No. 1 in C Major, Piano Sonata Op. 53, I
BWV 772, 115, 116, 120, (repeated period), 148
400, 403 Sonatina in F, Anh. 5 No. 2,
Invention No. 7 in E Minor, II. Rondo (phrase chain),
BWV 778, 400 151
Invention No. 8 in F major, Symphony No. 1, Op. 21, I,
BWV 779, 312 111
Barber, Samuel Symphony No. 2, Op. 36, I.,
Adagio for Strings, 102, 157 284
Bartók, Béla Symphony No. 5, Op. 67, I,
Piano Concerto No. 2, II., 444 254
bass clef, 1 Symphony No. 5, Op. 67, I.
beat, 22 (opening), 64
beats per minute, 22 Symphony No. 5, Op. 67, II,
Beethoven 301, 305
Moonlight Sonata, Op. 27, Symphony No. 7, Op. 92, I,
No. 2, I, 160, 248 247
Moonlight Sonata, Op. 27, binary
No. 2, III balanced, 312
Terminative function in rounded, 314
Closing Theme, 343 simple, 317
32 Variations in C minor, binary principle, 319
WoO 80, 262 Bizet
Bagatelle in A minor, WoO Carmen, Habanera (“L’amour
59, “Für Elise” est un oiseau rebelle”),
period form, 140 186
Eleven Bagatelles, Op. 119, Bo Diddley beat, 181
No. 9, 324 borrowed chords
Minuet in G, WoO 10, No. 2, definition of, 231
95 bpm, 22
Pathétique Sonata, Op. 13, I, Brahms
304 Fünf Lieder, Op. 49
Pathétique Sonata, Op. 13, I, “Wiegenlied”, 310
closing theme, 80 Symphony No. 3 in F major,
Pathétique Sonata, Op. 13, I, Op. 90, III. Poco
Introduction, 118 Allegretto, 236
Pathétique Sonata, Op. 13,
II, 371 cadence
Pathétique Sonata, Op. 13, authentic, 45
III, 344 deceptive, 45
Piano Sonata in C minor, Op. definition of, 45
13, (Pathétique), II, 142 half, 45
Piano Sonata Op. 10, No. 1, plagal, 45
II (double period), 146 cadential six–four (cadential 64 ),
Piano Sonata Op. 110, I, 279 206
Piano Sonata Op. 2, No. 1, I Chopin
sentence structure in, 136 Nocturne in E–flat major, Op.
Piano Sonata Op. 2, No. 1, 9, No. 2, 245
INDEX 529
Prelude Op. 28, No. 20, in C Danses, II. Danse profane, 438
minor, 144 Préludes, Book II, No. 3, La
Waltz in A–flat major, Op. Puerto del Vino, 439, 440
34 No. 1, 79 Prelude to the Afternoon of a
chord, 35 Faun, 441
chromatic mediants, 285 Suite bergamasque, III. Clair
circle of fifths, 7 de lune, 439
circle of fifths (harmonic String Quartet in G minor,
progression) Op. 10, I., 437
diagram, 61 deceptive cadence
example (Bach), 60 definition of, 45
example (Fly Me to the musical examples, 49, 51
Moon), 63 developmental function
example (Handel), 60 definition of, 342
example (I Love You Like a diatonic
Love Song), 63 definition of, 44
example (I Will Survive), 63 diatonic common chord
example (Mozart), 62 modulation, 273
example (Wagner), 62 diminished intervals, 33
circle of fifths (major key diminution, 116
signatures) direct modulation, 280
diagram, 8 distantly related keys, 273
circle of fifths (minor key dot, 21
signatures) double flat, 3
diagram, 13 double period
clef, 1 definition of, 145
closely related keys double sharp, 3
definition of, 273 Duke Ellington
Columbia, the Gem of the Ocean, “It Don’t Mean A Thing (If It
54 Ain’t Got That Swing)”,
common–tone modulation, 283 254
complement duplet, 23
definition of, 458 durational symbols, 20
compound meter, 22
consequent Ellington, Duke
definition of, 141 “Take the ‘A’ Train”, 65
consequent group, 145 enharmonic, 4
continuous enharmonic equivalence, 450
definition of, 310 enharmonic modulation, 297
contrasting period, 141 expository function
contrasting verse–chorus form, 130 definition of, 337
Copland, Aaron
Appalachian Spring, 442, 443, figured bass
446 chromatic alterations to, 209
counterpoint definition of, 203
definition of, 393 for seventh chords, 205
Couperin for triads, 205
5 Pièces de Clavecin, 4. Le first inversion, 37
Petit–Rien (Ordre XIV, flat, 3
8) (phrase group), 150 foreign keys, 273
Forte, Allen
Davis, Miles The Structure of Atonal
“Tune-Up”, 66 Music, 449
Debussy, Claude fragment, 119
530 INDEX
fugue Haydn
bridge Piano Sonata in C major,
definition of, 404 Hob. XVI:35, I., 340
countersubject Piano Sonata in F Major,
definition of, 404 Hob. XVI:9 , III
definition of, 403 period form, 139
episode Sonata No. 48 in C Major,
definition of, 403 Hob. XVI: 35, III, 97
exposition Symphony No. 94 in G
definition of, 403 major, Hob.I:94, II, 311
response Holst
definition of, 403 The Planets, “Uranus”, 117
subject
definition of, 403 imperfect authentic cadence
definition of, 135
Giacchino, Michael Impressionism, 437
Star Trek, “End Credits”, 249 incomplete chords, 52
Giordani interval class
Caro mio ben, 376 definition of, 456
Glass, Philip interval vector
Einstein on the Beach definition of, 456
Act 1, Scene 1, “Train”, 478 intervallic change, 115
Music in Fifths, 478 intervals
Two Pages, 478 augmented, 33
Metamorphosis Two, 89 definition of, 29
grand staff, 2 diminished, 33
Gretchaninoff, Alexander harmonic, 29
Children’s Book, Op.98 how to identify, 30
No. 13 “After the Ball”, 331 how to write, 32
guide tones, 424 inversion of, 32
major, 30
half cadence melodic, 29
definition of, 45 minor, 30
Handel perfect, 30
Rinaldo, “Lascia ch’io pianga”, inversion, 114
99 inverted chord, 37
Xerxes, “Ombra mai fu”, 174 inverted triad, 37
Gavotte, HWV 491, 326
John Coltrane
Recorder Sonata in A minor, “Mr. P.C.”, 257
HWV 362, I. Larghetto,
204 key change, 267
Suite in G minor, Passacaglia, key signature, 6
60 Kuhlau
Suite No. 2 in D Major, Sonatina in C Major, Op. 55,
HWV 349: II, 103 No. 1, I, 98
harmonic flowchart
in major, 73 Lassus, Orlande de
in minor, 74 Expectatio Justorum, 399
harmonic function lead–sheet symbols, 35
definition of, 72 ledger lines, 1
harmonic rhythm Ligeti, György
definition of, 64 Trio for Violin, Horn, and
harmonic sequence, 63 Piano, II, 185
harmony, 35 Loesser, Frank
INDEX 531
Hans Christian Andersen, Eine kleine Nachtmusik, K.

“Inchworm”, 237 525, I., 51
Eine kleine Nachtmusik, K.
M.M. (Maelzel’s Metronome), 22 525, I. (elision), 152
Maelzel’s Metronome, 22 Eine kleine Nachtmusik, K.
Mancini, Henry 525, II., 196
“The Pink Panther Theme”, Marriage of Figaro, “Voi che
258 sapete”, 49
melodic bass six–four, 208 The Magic Flute, “Ein
meter, 22 Mädchen oder
compound, 22 Weibchen”, 155
duple, 22 Andante in E–flat major, K.
quadruple, 22 15mm, 320
Ave verum corpus, K. 618, 51
simple, 22
Oboe Concerto in C major,
triple, 22
K. 314, III., 289
middle C, 2
Piano Sonata in C Major, K.
minor
545, II, 123
parallel, 12
Piano Sonata in D major, K.
relative, 12
284, III., 315
mode mixture
Piano Sonata K. 279, III, 177
definition of, 231
Piano Sonata K. 283, I., 74
modes
Piano Sonata K. 310, I, 171
Aeolian, 430
Piano Sonata K. 331, I, 327,
Dorian, 430
373
Ionian, 430 antecendent and consequent
Locrian, 430 in, 141
Locrian 42, 430 period form, 138, 206
Lydian, 430 sentence structure in, 136
Lydian–Augmented, 430 Piano Sonata K. 333, I, 98,
Lydian–Dominant, 430 155
Mixolydian, 430 Piano Sonata K. 545, I, 164
Mixolydian–26̂ , 430 Piano Sonata K. 545, I.,
Phrygian, 430 primary theme, 58
Phrygian–Dorian, 430 Piano Sonata K. 545, I.,
modulation secondary theme, 62
borrowed common chord, 278 Piano Sonata K. 545, II, 105
common–tone, 283 Piano Sonata, K. 284, I, 341
definition of, 267 Piano Sonata, K. 333, I, 338
diatonic common chord, 273 sentence structure in, 137
direct, 280 String Quartet K. 428, IV,
enharmonic pivot chord, 297 158
Neapolitan common chord, Symphony No. 40, K. 550, I.
279 harmonic function in
secondary common chord, 277 primary theme, 78
sequential, 287 Symphony No. 40, K. 550, I.
Monk, Thelonious (opening melody), 64
“Blue Monk”, 94 Symphony No. 40, K. 550, II,
motive 96
definition of, 111 Symphony No. 40, K. 550,
Mozart, W.A. III, 122
Don Giovanni, K. 527, “Mi Symphony No. 41, K. 551, I.
tradi quell’alma ingrata”, Terminative function in
290 Closing Theme, 342
532 INDEX
natural, 3 Rachmaninov
Neapolitan Prelude in C–sharp minor,
definition of, 247 Op. 3 No. 2, 321
ninth chords, 417 Rahn, John
non–chord tones Basic Atonal Theory, 449
definition of, 93 Ravel, Maurice
normal form Pavane pour une infante
definition of, 452 défunte, 440
Piano Trio, I., 438
octave, 2 Rebirth Brass Band
octave equivalence, 450 “Casanova”, 183
octave registers, 2 Reich, Steve
offbeats, 177 Clapping Music, 479
order of flats, 7 Piano Phase, 479
order of sharps, 7 Three Movements, II., 481
ornamentation, 118 relative minor, 12
repeated period, 147
pandiatonicism, 442
retrograde, 119
parallel minor, 12
rhythmic change, 117
parallel period, 141
rondo form, 343
passing six–four, 207
root, 35
pedal six–four, 208
root position, 37
Perfect Authentic Cadence, 135
period Rossini
definition of, 137 William Tell Overture, 256
phrase
scale degree names, 15
definition of, 120
scales
phrase chain
definition of, 150 Altered, 430
phrase group bebop dominant, 429
definition of, 149 bebop major scale, 432
pitch, 1 Blues scale, 428
pitch class, 450 diminished scale, 430
plagal cadence Diminished–Whole Tone, 430
definition of, 45 Octatonic (Half–Whole), 430
musical examples, 47 Octatonic (Whole–Half), 430
polychord Whole Tone, 430
definition of, 444 Schönberg, Claude–Michel
prime form Les Miserables
definition of, 453 “One My Own”, 302
Puccini Schoenberg, Arnold
Gianni Schicchi, “O mio Chamber Symphony No. 1,
babbino caro”, 106 Op. 9, 443
pulse, 22 Suite for Piano, Op. 25, 467
Purcell, Henry Schubert
Dido and Aeneas, Z. 636 Schwanegesang, D. 957
“When I am laid in earth” “Abschied”, 270, 278
(Dido’s Lament), 261 “Der Atlas”, 306
“Frühlingssehnsucht”, 280
quadruplet, 23 “Kriegers Ahnung”, 282
quartal harmony “Liebesbotschaft”, 281
definition of, 443 Winterreise, D. 911
quintal harmony “Der Wegweiser”, 255
definition of, 443 “Die Nebensonnen”, 159
quintuplet, 22 “Frühlingstraum”, 372
INDEX 533
“Gute Nacht”, 171 “All About That Bass”

20 Minuets, D. 41 (Meghan Trainor), 79
No. 18 in F major, 316 “All I Do Is Win” (DJ
Piano Trio No. 1 in B–flat Khaled), 89
major, D. 898, I., 285 “All My Ex’s Live in Texas”
Schumann, Clara (George Strait), 76
Op. 13, No. 2, “Sie liebten “All of Me” (John Legend),
sich beide”, 101 81, 184
Schumann, Robert “All the Things You Are”, 67
Album for the Young, Op. 68, “Another One Bites the Dust”
No. 16, “First Loss”, 128 (Queen), 192
Dichterliebe, Op. 48 “Are You Gonna Be My Girl”
“Am leuchtenden (Jet), 170
Sommermorgen”, 260 “As Time Goes By”, 66
“Ich grolle nicht”, 172 “As Time Goes By” (from the
“Im wunderschönen Monat motion picture
Mai”, 109 Casablanca), 94
Album for the Young, Op. 68, “Baby Love” (The Supremes),
No. 17, “Little Morning 220
Wanderer”, 143, 272 “Back in Black” (AC/DC),
second inversion, 37 193
second line drumming, 183 “Back in the New York
secondary diminished chord, 225 Groove” (Ace Frehley),
sectional 182
definition of, 309 “Barbara Ann” (Beach Boys),
secundal harmony 169
definition of, 443 “Barbie Girl” (Aqua), 68
segmentation “Beautiful Day” (U2), 188
definition of, 455 “Beautiful” (Christina
semitone, 450 Aguilera), 233
sentence “Best of You” (Foo Fighters),
definition of, 135 185
sentence structure “Beyond The Sea”, 69
example of, 136 “Blackbird” (The Beatles),
sequence 231
definition of, 64 “Blue Moon”, 68
sequential modulation, 287 “Born to Run” (Springsteen),
set theory, 449 96
seventh chord “Call Me” (Blondie), 99
definition of, 55 “Clocks” (Coldplay), 185
example of 5 types, 55 “Cold As Ice” (Foreigner), 174
sharp, 3 “Cold” (Maroon 5), 187
simple meter, 22 “Colour My World”
simple verse–chorus form, 130 (Chicago), 161
slash chord, 37 “Could You Be Loved” (Bob
slur, 21 Marley), 54, 178
sonata form, 335 “Creep” (Radiohead), 235
sonatina form, 336 “Criminal” (Fiona Apple), 259
songs (popular) “Day Tripper” (Beatles), 191
CHiPs Theme, 443 “Dem Bow” (Shabba Ranks),
Jeopardy 186
Theme, 444 “Desire” (U2), 84, 182
“(Sittin’ On) The Dock of the “Despacito” (Luis Fonsi
Bay” (Otis Redding), 221 featuring Daddy Yankee),
534 INDEX
187 131
“Don’t Know Why” (Norah “I Want Candy” (The
Jones), 212 Strangeloves), 181
“Don’t Stop Believin” ’ “I Want You to Want Me”
(Journey), 124 (Cheap Trick), 212, 219,
“Don’t Stop” (Fleetwood 226
Mac), 124 “I Want to Hold Your Hand”
“Don’t You (Forget About (Beatles), 46
Me)” (Simple Minds), 84, “I Will Always Love You”
165 (Whitney Houston), 81
“Downtown” (Macklemore “I Will Survive”, 63
and Ryan Lewis), 192 “I’ll Be There For You” (The
“Dream On” (Aerosmith), 263 Rembrandts), 79
“Earth Angel” (The “I’m Yours” (Jason Mraz), 180
Penguins), 81 “I’m Every Woman” (Chaka
“Edge of Glory” (Lady Gaga), Khan), 121
36 “I’m Not In Love” (10cc), 116
“Eye of the Tiger” (Survivor), “If I Ain’t Got You” (Alicia
183 Keys), 161
“Faith” (George Michael), 182 “Imagine” (John Lennon), 221
“Fancy” (Iggy Azalea “Immigrant Song” (Led
featuring Charli XCX), Zeppelin), 193
192 “Interstate Love Song” (Stone
“Final Song” (MØ), 187 Temple Pilots), 264
“Flashdance... What A “Irreplaceable” (Beyoncé), 122
Feeling” (Irene Cara), 82 “It’s the Hard Knock Life”
“Fly Me to the Moon”, 63 (from Annie), 172
“Forget You” (CeeLo Green), “Jar of Hearts” (Christina
213, 219 Perri), 265
“Friend Like Me” (from “Johnny B. Goode” (Chuck
Aladdin), 260 Berry), 132
“Friends in Low Places” “Joy to the World” (Three
(Garth Brooks), 227 Dog Night), 234
“Ghostbusters” (Ray Parker “Just Give Me a Reason”
Jr.), 189 (Pink), 48
“Girls Just Want to Have “Just the Way You Are”
Fun” (Cyndi Lauper), (Billy Joel), 226
184 “Let’s Get It On” (Marvin
“Greatest Love of All” Gaye), 165
(Whitney Houston), 71 “Lithium” (Nirvana), 235
“Hard to Say I’m Sorry” “Little Brown Jug” (Glenn
(Chicago), 40 Miller), 191
“Haven’t Met You Yet” “Livin’ on a Prayer” (Bon
(Michael Buble), 175 Jovi), 269
“Heart and Soul”, 81 “London Bridge is Falling
“Heartbreaker” (Pat Benatar), Down” (Count Basie),
173 432
“Hello” (Adele), 86 “Love Song” (Sara Bareilles),
“Hey Jude” (Beatles), 75, 83 40, 175
“Hold My Hand” (Jess “Love You Like A Love Song”,
Glynne), 188 63
“Hotel California” (The “Love Yourself” (Justin
Eagles), 82 Bieber), 53, 168
“I Got Rhythm” (Gershwin), “Love on Top” (Beyoncé), 267
INDEX 535
“Love on the Brain” and Fire), 72

(Rihanna), 162 “Shape of You” (Ed Sheeran),
“Maneater” (Hall and Oates), 185
169 “She’s Got a Way” (Billy
“My Girl” (The Temptations), Joel), 174
121 “She’s Out of My Life”
“My Heart Will Go On” (from (Michael Jackson), 133
Titanic), 95, 268, 283 “Silly Love Songs” (Wings), 97
“Never Gonna Give You Up” “Sir Duke” (Stevie Wonder),
(Rick Astley), 72 119
“Never” (Heart), 166 “Smells Like Teen Spirit”
“New York, New York” (Liza (Nirvana), 130
Minnelli), 78 “Smoke on the Water” (Deep
“No Scrubs” (TLC), 58, 163 Purple), 170
“O–o–h Child” (The Five “Some Nights” (fun.), 160
Stairsteps), 57 “Someday My Prince Will
“One Dance” (Drake), 187 Come”, 131
“One Day I’ll Fly Away”, 239 “Someone Like You” (Adele),
“Part of Your World” (from 85, 162
The Little Mermaid), 234 “Sorry” (Justin Bieber), 187
“Party Rock Anthem” “Stairway to Heaven” (Led
(LMFAO), 124, 190 Zeppelin), 88, 262
“Pipeline” (The Chantays), “Star Dust” (Hoagy
164 Carmichael), 132
“Pompeii” (Bastille), 65 “Starships” (Nicki Minaj), 190
“Pretty Thing” (Bo Diddley), “Stop
181 In the Name of Love” (The
“Problem” (Ariana Grande), Supremes), 109
190 “Stranger in Paradise”, 70
“Push It” (Salt-n-Pepa), 117 “Sunshine of Your Love”
“Raise Your Glass” (Pink), (Cream), 428
189 “Superfreak” (Rick James),
“Rapper’s Delight” (The 192
Sugarhill Gang), 192 “Take Me to Church”
“Red Red Wine” (UB40), 179 (Hozier), 49
“Reelin’ in the Years” (Steely “Take the ‘A’ Train”, 65
Dan), 84 “That’s What I Like” (Bruno
“Rock ‘n’ Roll High School” Mars), 167
(The Ramones), 81 “The Very Thought of You”,
“Rolling In The Deep” 116, 125
(Adele), 88 “Thinking Out Loud” (Ed
“Roxanne” (The Police), 175 Sheeran), 52, 165
“Rude” (by MAGIC “Tik Tok” (Kesha), 166, 191
), 81, 180, 186 “Toxic” (Britney Spears), 119
“Saturday in the Park” “Treat You Better” (Shawn
(Chicago), 213 Mendes), 185
“Say You Won’t Let Go” “True Colors” (Cyndi
(James Arthur), 168 Lauper), 50
“Secrets” (One Republic), 163 “Umbrella” (Rihanna), 87
“See You Again (Wiz Khalifa “Under Pressure” (Queen and
ft. Charlie Puth)”, 126 David Bowie), 192
“See You Again” (Wiz Khalifa “Underneath It All” (No
ft. Charlie Puth), 167 Doubt), 179
“September” (Earth, Wind, “Walk This Way”
536 INDEX
(Aerosmith), 193 in popular music in the major

“Walking On Sunshine” mode, 83
(Katrina and the Waves), tonicization of, 216
170 sus2 chord, 39
“Walking on the Moon” (The sus4 chord, 39
Police), 178 sus9 chord, 39
“Want to Want Me” (Jason syncopation, 24
Derulo), 94
“Warriors” (Too Many Zooz), Tchaikovsky
189 The Nutcracker
“We Are The World”, 129 “Miniature Overture”, 214,
“We Are Young” (fun.), 173 336
“We Are the Champions” “Waltz of the Flowers”, 238,
(Queen), 230 300
“When I Fall In Love”, 131 tempo, 22
“While My Guitar Gently tendency tones, 359
Weeps” (The Beatles), tenor clef, 2
262 terminative function
“White Christmas”, 131 definition of, 342
“Why Do Fools Fall in Love”, ternary form, 319
69 compound, 322
“Yesterday” (The Beatles), tetrachord, 5
211, 218 texture, 157
“You Can’t Hurry Love” (The thoroughbass, see figured bass
Supremes), 169 tie, 21
“You Know You Like It” time signature, 19
(Aluna George, DJ Snake tonicization
Remix), 188 definition of, 214
“You Really Got Me” (The transitional function
Kinks), 193 definition of, 338
spacing error, 359 transposition
species counterpoint definition of, 43
definition of, 393 treble clef, 1
staff, 1 triad
Star–Spangled Banner, 73, 159, augmented, 35
207 definition of, 35
musical example, 46, 97, 241, diminished, 35
242 inverted, 37
Straus, Joseph major, 35
Introduction to Post–Tonal minor, 35
Theory, 449 triplet, 22
Strauss, Richard tuplet, 22
Also Sprach Zarathustra, duplet, 23
Op.30, 232 quadruplet, 23
Stravinsky, Igor quintuplet, 22
Petrushka, Fourth Tableau: triplet, 22
The Shrovetide Fair turnaround, 426
(Toward Evening), 442, twelve–tone technique
446 inversion, 468
Rite of Spring, “Dance of the prime form, 468
Adolescents”, 445 retrograde, 468
Septet, 473 retrograde inversion, 468
subtonic triad two-–reprise
definition of, 45 definition of, 311
INDEX 537
unequal fifths Tristan und Isolde, Prelude to

definition of, 373 Act I, 50, 437
Webern, Anton
Vejvoda 5 movements for string
“Beer Barrel Polka”, 177 quartet
Verdi No. 3. Sehr bewegt, 449
Rigoletto, “La donna è Williams, John
mobile”, 75, 214 Raiders of the Lost Ark,
Verse–Chorus form, 129 “Raiders March”, 249
Vivaldi Star Wars: Return of the
Concerto for Two Violins and Jedi, “Main Title (The
Cello in D minor, RV Story Continues)”, 287
565, V., 374 The Phantom Menace, “Duel
voice leading of the Fates”, 287
definition of, 357
Zimmer, Hans and Antonius Tom
Wagner, Richard Holkenborg
Das Rheingold, Scene 3, 286 Batman v Superman: Dawn
Die Meistersinger, Act II, of Justice, “The Red
Scene 6, 62 Capes are Coming”, 250
538 INDEX
Colophon
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Music Theory

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Music Theory for the

DRAFT August 23, 2019 DRAFT

I owe a huge thanks to Robert Beezer for recommending PreTeXt (formerly

Music Theory for the 21st–Century Classroom is an openly–licensed online

2 Major Scales and Key Signatures 5

3 Minor Scales and Key Signatures 11

7 Roman Numerals and Cadences 43

9 Harmonic Progression and Harmonic Function 59

11 Melodic Analysis 117

12 Form in Popular Music 139

13 Phrases in Combination 147

14 Accompanimental Textures 173

15 Creating Contrast Between Sections 213

16 Figured Bass 221

17 Secondary Dominant Chords 231

18 Secondary Diminished Chords 245

19 Mode Mixture 253

20 The Neapolitan Chord 269

21 Augmented Sixth Chords 275

23 Enharmonic Modulation 325

24 Binary and Ternary Forms 337

24.9 Practice Exercises . . . . . . . . . . . . . . . . . . . . . . . . . 355

25 Sonata and Rondo Forms 365

26 Voice Leading Triads 387

27 Voice Leading Seventh Chords 403

28 Voice Leading With Non–Chord Tones 413

29 Voice Leading Chromatic Harmonies 423

30 Introduction to Counterpoint 429

30.9 Practice Exercises . . . . . . . . . . . . . . . . . . . . . . . . . 445

31 Introduction to Jazz Theory 455

32 Impressionism and Extended Tonality 477

33 Set Theory 489

A Answers to Practice Exercises 525

B GNU Free Documentation License 565

? when we discuss Good

Figure 1.3.2: Middle C in alto clef and tenor clef

b ww2—lowers awpitch a half w # ww w

• The double flat symbol—3—lowers a pitch two half steps, or a whole

1.5 Enharmonic Notes

Major Scales and Key Signa-

2.1 Half Steps and Whole Steps

half step whole step

2.2 The Major Scale

6 CHAPTER 2. MAJOR SCALES AND KEY SIGNATURES

Figure 2.2.1: The D major scale on a keyboard

2.3 Major Key Signatures tetrachord

Figure 2.3.1: "Twinkle, Twinkle, Little Star" in D major

# ## ### #### #### #### # #### #

&b bb bbb bbbb bbbbb bbbbbb bbbbbbb

The order of sharps is F–C–G–D–A–E–B, often remembered by a mnemonic.

The order of flats is B–E–A–D–G–C–F. It is the reverse of the order of

A mnemonic that works forward and backward is “Father Charles Goes

A helpful learning device to remember the order of keys in relation to

8 CHAPTER 2. MAJOR SCALES AND KEY SIGNATURES

b 2.3.1 Identifying Key Signatures

While it is preferable to memorize key signatures, use the following method

B¯≤ major scale

### bbbbbbb #### ## #### bb #### #

____ ____ ____ ____ ____ ____ ____

#### # ? here to download the homework.

&Thew melodicw minorb wscale haswan ascending w

& Melodic Minor scale

Below are the minor key signatures.

& # ## ### #### #### # # # ## # #### # #

# ww # #4.ww # ‹ ww6.

HW & Ex. # #www ?3.